Archive for the ‘Asanas – Dances – Mudras’ Category

Date: Tue, 18 Dec 2012 01:28:34
Subject: Baba’s Humour at Bettiah DMC



The following humorous and loving interaction took place between our Sadguru Baba and those blessed bhaktas who were graced to be able to attend the DMC in Bettiah on 23 January 1984.

This particular DMC marked the first time that a tandava competition was held in Bettiah, so it was a landmark occasion.

Here we should differentiate between the ceremonial dancing of tandava at every DMC and a tandava competition wherein dancers would dance for a long period maintaining proper form. Again this was the tandava competition.


At this point in the program, the margii – who himself was a bit obese and going to call out the directions for tandava – is now addressing the dancers in the DMC pandal. Baba Himself is sitting on the dais and the pandal is full of thousands and thousands of margiis. Everyone can hear what the margii announcer is saying. The atmosphere was quite blissful and joyous.

MARGII ANNOUNCER: This is the start of our tandava competition. We should all try. You know that Baba is all-knowing. We should all try and everything will be fine.

(At that time Baba was smiling and in a happy mood.)

BABA: When you say “we should all”, that also includes you doesn’t it?

(Much laughter.)

(While margiis were still laughing, Baba began smiling broadly and slowly looked toward all the sadhakas from left to right, in the pandal. Baba continued…)

BABA: I will not dance – I cannot do.

(Hearing this, once again there was uproarious laughter inside the pandal. Baba’s words were full of double entendre, or dual meaning. On the one hand it meant that Baba is the Guru and therefore He is not going to dance; on the other hand it indirectly meant that the obese margii announcer is not going to dance.)


Baba says, “You will have to build a society in which no one is forced to weep, where everyone smiles joyfully all the time and gets ample scope for laughter.” (Ananda Vacanamrtam – 4)

at His lotus feet


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From: “Naval Sinha”
To: am-global@earthlink.net
Subject: Those Who Think They Understand Fully – Don’t
Date: Wed 10 October 2012 21:49:38



Hindus think that brahamcarya means “celibacy”, when in in our Ananda Marga it means ensconcing oneself in Godhood. That is the dharmic understanding as given by Baba. This type of example is not unique; there are countless such cases.

As we know, Ananda Marga philosophy has its own vocabulary: Words carry a pointed dharmic meaning given by Baba Himself which is different from the general understanding of the common public and the various religions.


For example, take the term avatar. Here are three different definitions:

1) The dogmatic Hindus believe that an avatar is a divine being that has descended from heaven onto earth.

2) Next, there is the pseudo-culture / video gaming definition of avatar, wherein an avatar is the creation of a character (as in a computer game) that represents and is manipulated by a computer user.

3) Finally in Ananda Marga, the term avatar refers to every created entity in this universe.

Baba says, “The fundamental stuff of the universe has emerged from Parama Purus’a; hence all objects, big and small, are the sambhu’tis of Parama Purus’a… When Parama Purus’a is manifested in some physical object, that physical object is called the avata’ra of Parama Purus’a.” (Ananda Marga Ideology & Way of Life – 10)

Thus the Ananda Marga definition of avatara is dramatically different from that of the dogmatic religions and pseudo-culture venues.


Now let’s investigate another term: Tandava.

The Hindu community thinks that tandava means destruction. In Indian newspapers, if they are describing some village that caught fire wherein the houses burned to ashes, then they say that it was tandava of fire.

So Hindus commonly use it in this way: “Tandava depicts Shiva’s violent nature as the destroyer of the universe.”

The general Indian society also adheres to this meaning. Hence when destruction comes in the form of fire, the loss of blood, or an earthquake etc, then people use the term tandava, i.e. the tandava dance of destruction was going on.

But we know that this is not the true meaning of tandava.

In Ananda Marga, tandava is the name of one dynamic and tantric dance which Lord Shiva invented. All margiis practice this dance. So we use the term tandava in a very positive way: As one of the great gifts of Lord Shiva.

If in our Ananda Marga magazine or newspaper it is reported that margiis were doing tandava, it does not mean that margiis were killing, destroying or engaging in arson etc. Because for us tandava is something quite beneficial and positive. It is our duty to propagate this ideal to all.

Thus when we use the term tandava we should not use it as dogmatic Hindus do: They think that tandava means obliteration, destruction or disaster. Even in the newspapers, they will say that the dance of tandava of fire – or the first is dancing tandanva – happened if a huge blaze burned down an entire city.

As Ananda Margiis, we are not to be drawn in to such dogmatic ideas.


Unfortunately, in his book, “Mere Rahasyamay Baba” (2010, Hindi) – which translates as “My Mysterious Baba” – Dada Keshavanandji also uses the tandava term to mean destruction. When talking about the Emergency period during the 1970’s, Dadaji uses tandava as a destructive force. He says things like: During the destruction of Emergency period, the dance of tandava was going on and everything was destroyed.

In this manner, Dadaji has drifted and adopted the dogmatic Hindu meaning of the term tandava. To be fair, Dadaji uses the tandava term twice in his book: one time properly (dharmic) and one time improperly (dogmatic). When describing the Emergency period, Dada uses the tandava term in that latter dogmatic way.


Throughout the book, there are numerous small mistakes and some really big errors as well. Perhaps the most problematic story is chapter 41 (p. 46 – 48) titled “Ramchij Do Bar Mara'”, or “Ramchij Dies Twice”. Someone should really come forward and correct this chapter / story. Bacause there Dadaji misunderstood Baba’s view entirely. All in all, this book need to be updated and made proper. Once all the mistakes are corrected, it can be translated into various languages and shared with margiis around the globe. But first, all corrections should made done, checked, and re-checked. To publish a Baba story book that goes astray is not at all good.


As His PA (Personal Assistant), Dada Keshavanandji was given so much time with Baba. So Dadaji should recount some of his experiences – just we need to correct his errors and misundertandings so that all the words, terms, and stories properly reflect Baba’s ideals. Each story should be focused, flawless, and not at all haphazard, murky, or misleading. Each story should give neatly reflect Baba’s and teachings.



Here Baba below Baba talks about the meaning of the tandava dance. By His explanation it is quite clear that the tandava dance is not about destruction but rather life itself.

Baba says, “Now the fundamentality, or rather the primordial phase of Oriental dance, is táńd́ava. It is not a very easy job either. The knees must cross the navel. When they cross the navel it is called Brahma táńd́ava. When they cross the anáhata [mid-point of the chest] it is called Viśńu táńd́ava. When they cross this portion [indicates the throat], it is called Rudra táńd́ava. It is very difficult to dance Rudra táńd́ava. It requires long practice.

That is why Lord Sadáshiva is known as Nat́arája. And when these boys [indicates them] were dancing, it was just like a picture of Nat́arája in táńd́ava mudrá. It is called táńd́ava; táńd́ava is a mudrá.

Why is it called táńd́ava? In Sanskrit tańd́ means “to jump”. Tańd́u means “of jumping habit”. Táńd́ava means “having the use of tańd́u, the use of jumping”. But jumping in the proper style, not in a disorderly manner. You should learn it properly in a disciplined way.

And táńd́ava represents life; you know Tantra is a cult of life, it is not a cult of death. For Tantra you should be strong physically, mentally and spiritually. First in the present tense; Lord Shiva says all your expressions, all your manifestations, must be based on the present tense. So this táńd́ava is the starting phase of Tantra.

This táńd́ava I said represents life, it represents vitality. There are so many forces that want to destroy you, so many forces forces that are inimical to you by nature. Say a snake – a snake is a born enemy. There are many such born enemies. As Tantra represents life, táńd́ava says that one’s spirit should be based on vitality, based on the principle of survival.

This human skull represents death. You are surrounded by death, but you must not be defeated, you must not develop the psychology of fear or defeatism. So the knife is with you to fight against death.(1) Yours is a fight for survival. In the daytime one may also use a snake to represent death – not an ordinary snake, but a venomous snake. In India our boys dance with a snake. But at nighttime neither a skull nor a snake will be visible. Here there is light, they will be visible, but in a burial ground, in a cremation ground, where there is darkness, a snake or skull will not be visible. There you may use fire to represent death.

This is the spirit of Tantra. To fight, to fight for survival. [[It is the normal wont of all living beings to fight for survival.]] It is normal life moving towards the supreme state of abnormality.

Lord Shiva started this táńd́ava dance.” (Ananda Vacanamrtam – part 12)


“Ga’nera jharn’a’ baye ya’ya, bela’ abela’ na’hi ma’ne…” (P.S.#4868)


Baba, O’ my Dearmost, Your divine fountain of Prabhat Samgiita is flowing eternally, completely independent of the normal cycle of time. Your blissful songs flow according to their own schedule, according to their own routine – not caring about day or night, summer or winter. The divine flow and sweet melody of Your Prabhat Samgiita is dancing on the jagged path. They lead one towards that vast Cosmic Ocean – towards the fountain of effulgence, towards You Baba…

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Date: Fri, 10 Aug 2012 21:34:02
From: Viireshvar Deva viira@ezmail….
Subject: Sadhana Point: Padmasana


“Vanoma’jhe giye path ha’riye se sandya’y a’mi kendechi, tumi ja’no…” (PS 2584)


Baba, that very evening when I went to the forest and lost the path, I was sitting there crying constantly for Your grace & guidance. Baba, You are well aware about all this. O’ my dearmost, I tearfully requested You again and again to please give me some direction and to guide me as to what I should do. Baba, I am depending on You completely. I have deep love for You. Baba, You are omniscient – You are the Knower of everything – so You are aware about all this.

Baba, that night under the tree where I was sitting it was so dark; the moon’s light could not even pierce through the branches [1] (sha’kha’) of the trees nor through the leaves and flowers. On that occasion, black clouds were also in the sky. All around me there was darkness [2] (a’ndha’r). In that cimmerian darkness, the lamp [3] (diip) which I had in my hand also got extinguished. That made it even more dark all around. Baba, with no hope in sight, on that fearful night I was shouting for Your help – repeatedly again & again I was calling: ‘Baba, please listen and help me get out of this frightening situation’.

Baba, ultimately You graced me and came close. You removed all those branches and leaves which were blocking the moonlight and You blew away those black clouds to some far distant place in the sky. Baba, You made everything effulgent. You graciously came very close, gently held my hand, and lovingly wiped away all the dilemmas and confusion from my mind. Baba, You are ever-gracious; You are Love-Personified…


[1] Branches (sha’kha’): In this metaphor, the branches of the tree represent dogma since they are blocking the moon’s effulgence – i.e. Baba’s divine teachings. The sense is that to whatever extent dogma remains in the mind, to that same degree the mind remains away from the path of spirituality (effulgence). Because in that blinded condition – overcome by a dogmatic mind – one cannot understand or receive Baba’s divine guidelines, i.e. dharma.

[2] Darkness (a’ndha’r): In the above song the darkness represents a sadhaka’s own confusion about how to move ahead in life. Because of their own dogma, the sadhaka is completely unsure about which direction to proceed or how to advance. When dogma is in the mind, then side by side ignorance and confusion are also there.

[3] Lamp (diip): As we know a lamp gives light amidst all the darkness. In the above Prabhat Samgiita, the devotee entered the forest with his lamp. This sadhaka had been moving along the path of righteous – i.e. he was following Baba’s teachings like 16 points, yama and niyama etc. Yet when difficulties arose in his life, then in his confused state that sadhaka immediately forgot about all those good things. That’s to say, when trouble began the sadhaka became overwhelmed and left his dharmic practices due to his own bondages, internal enemies, and shortcomings. That is why the song says that his own lamp got extinguished: Because the sadhaka stopped practicing Baba’s teachings.


Here Baba talks about one of our main asanas for meditation.

Baba says, “Padmasana (lotus posture): Place the right foot on the left thigh and the left foot on the right thigh. Clench the jaws and press the tongue against the roof of the mouth. You can maintain this posture as long as you like.” (Caryacarya – 3)

Just as sleeping needs to be done in a lying posture, similarly for better sadhana one should sit in padmasana. No doubt margiis are aware about this rule but even then review is needed because some are no longer in the habit of sitting in this posture, while still others have become obese which leads to discarding this rule.

In addition, by seeing some sit in the wrong way, confusions can arise on such basic points as to which leg to bend first or how to place the palms. Or people just plain forget to keep the tongue back, the molar teeth pressed, the eyes closed, or the spine erect.

Hence for one or another reasons any or all of these points can get forgotten or missed.

Not to mention that at DMS and retreats I have seen how some people keep their hands clasped together and their fingers interlinked, but this of course is also not proper.

So about all these aforementioned points Baba has given the guideline in the above noted quote from Caryacarya part 3 and in the Senior Acarya Diary. So it is Baba’s mandate that we should be strict in following all these points properly, as they are integral for enhancing one’s movement on the path of sadhana.

Viireshvar Deva

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Date: Mon, 09 July 2012, 22:43:52
To: am-global@earthlink.net
From: Vijaya.Deva@bharata.net…
Subject: Why Red Dress




Baba says, “Ta’n’d’ava is a heroic dance, showing the fight between life and death. The knife represents life, represents your vital stamina, and the skull represents the death that wants to destroy you. You are fighting against death with your weapon, be it a knife or a trishula (trident). And as per the rule, during the day, if one so desires, one may use a live snake in place of the skull; and at night one may use a fire masha’la [torch] or a d’ambaru [small drum]. This is the rule. So ta’n’d’ava represents the eternal fight, the fight for survival, the fight to maintain existence, the fight to establish oneself as a man in this world.” (Ananda Vacanamrtam – 6, The Cosmic Father Has a Special Responsibility)


By Baba’s above guideline, we can delineate the system for doing tandava. During the daytime, in the left hand the tandava dancer may hold either (1) a skull, or (2) a live snake. When doing tandava during the nighttime, then in the left hand the dancer can hold either (3) a fire torch (masha’la) or (4) a d’ambaru, which is a small (approximately 1 litre in size), hand-held, double-sided drum. This type of drum has a string and two knots attached to it which twist around and create a beautiful sound when they strike against either face of the drum. Lord Shiva would use this type of drum.

So the point is that during tandava, depending on the time of day or night, any one of these four items (skull, live snake, fire torch, or d’ambaru) are held in the dancer’s left hand. And all four items symbolize the force of death and destruction.

Then in the dancer’s right hand he will hold a dagger or a trishula (trident). In AM, a dagger is a knife where both edges of the knife are perfectly straight and angle towards each other to create a distinct point at the end. So a dagger is a pin-pointed, dual-edged knife; not any ordinary type of knife is a dagger. The second option for the right hand is the trishul (trident). This is similar to the western “pitch-fork”. It is a three-pronged, pointed iron tool attached to a bamboo handle of variable length, 3 to 6 feet long.


By Baba’s grace, I was also present at that special darshan on 20 April 1979 in Kolkata where Baba revealed the secret why tandava dancers wear a red-coloured outfit. In Ananda Marga, it is a commonly known fact that tandava dancers always wear that unique red uniform when dancing. Everyone who attended DMC, DMS, or any of Baba’s darshans saw this. And on that special day in April ’79, Baba explained that red is the color of rajoguna (the mutative factor), and that by wearing red the tandava dancers are expressing the idea that they are above the mutative factor. Their red dress signifies that they are not controlled by rajoguna. Rather they are established in the sattvaguna (sentient sphere), by Baba’s grace. So the red uniform has this unique meaning which Baba Himself beautifully described in His darshan of 20 April 1979.

Baba says, “So the animal skin or the red garment means, “I am using it as my cloth by annihilating the brute force.” A red garment means that I am sitting on the mutative force and I am using the mutative quality as my outer clothing. The red colour is indicative of the mutative quality.” (Táńd́ava Dance – What and Why?, 20 April 1979, Kolkata)

Although that is how it was published in the English edition, this translation is off the mark. It does not properly convey Baba’s stated idea. The original Bengali – as spoken by Baba – carries a slightly different meaning: He clearly tells that the red dress signifies being “above” rajoguna (the mutative factor), not enmeshed in rajoguna . The translator then should have expressed this type of idea:

The red garment means, “I am established above rajoguna [the mutative factor];
rajoguna is my outer clothing; I am not rajogunii.” The red color is indicative of rajoguna.

This is the essence and overall thrust of what Baba is explaining in that discourse. Kindly make a note of it in your copies of this discourse – “Táńd́ava Dance – What and Why?” – which has been printed in Ananda Vacanartam part 10.


Those doing kapalik sadhana also use a red mark on their forehead when practicing this meditation. And the meaning behind that red mark is the same as tandava. Namely, that red mark signifies that the kapalika is above the mutative sphere of life – above rajoguna.



Baba says, “The inner motivation of ta’n’d’ava is the following: ‘Destruction is inevitable, but I will continue to fight against destruction through struggle’. So there is a skull [snake, torch or dambaru] in one hand and a dagger [or trident] in the other. The skull represents destruction, and the dagger represents fight. The underlying feeling is ‘I will not surrender to destruction or death. I will continue the struggle with this dagger’.” (9 Nov 1978 Kolkata)

Usually in this materialistic world, people are terrified of death. Tandava, and other tantric practices of Ananda Marga, are the solution.


“Ma’nus’ saba’i a’, Ekai marme gentha’ saba’r hiya…” (PS #1090)


All human beings are my own. We are all part of the same human family. Nobody can be regarded as an outsider. All our heart’s are threaded together with His divine love. We all share that single common goal. Indeed, all human beings are my own; all are my brothers and sisters. Marching together in unison we are collectively singing the tune of His divine glory…

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Subject: Re: DMS News #11: Uncultured Dance in Cultural Program
Date: Mon, 02 Jul 2012 21:44:09
From: Indranath



(Note: This is the eleventh letter on this thread. Please find links to the ten earlier letters below. – Eds)


Jaykrsna wrote:

“All programs should be passed and reviewed by the RAWA dept. or advisory committee of RAWA dept. before being presented in the public forum. Indeed, the in-charge of each & every dept. of AMPS should have proper knowledge of the events and programs of his dept. Otherwise we will have to face this type of blunder on a regular basis.”

Yes, I certainly second this proposal.

Verily, such a system must be in place and practiced otherwise this RAWA debacle will continue. Rather May 2012 DMS was not the first time that Mr Mrinal Pathak presented such a degrading scene on stage. This has been a on-going issue of late.

We should all reflect on the way Baba set up our Marga.


Baba has set things up such that we we keep our sanctity by maintaining our proper standard, 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 AM should be separate: For example WWD, our relief activities (AMURTL), reportings, social service projects, LFT trainings, and so much more. There are all separate along gender lines.

1. Jagrtis are not shared between males and females.
2. Co-education is not practiced with students above 10 years of age, i.e. or above the age of puberty.
3. During dharmacakra 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 DMC, kaoshikii was also performed separately. And still this practice is maintained.
10. Females doing guard duty for females and males for males; not mixed.
11. Akhanda kiirtana is also done in a separate manner.
12. Madhur Sadhana is not done collectively with the opposite sex.
13. in any gathering, games and sports females & males do not participate together.

Thus, when our entire AM 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.

Indranath Deva


#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

#5: http://am-global-01.blogspot.com/2012/06/re-dms-news-uncultured-dance-in_20.html

#6: http://www.am-global-01.blogspot.com/2012/06/re-6-dms-news-uncultured-dance-in.html

#7: http://am-global-01.blogspot.com/2012/06/re-6-dms-news-uncultured-dance-in_25.html

#8: http://am-global-01.blogspot.com/2012/06/re-7-dms-news-uncultured-dance-in.html

#9: http://am-global-01.blogspot.com/2012/06/re-8-dms-news-uncultured-dance-in.html

#10: http://am-global-01.blogspot.com/2012/06/re-10-dms-news-uncultured-dance-in.html


“Tumi kii ceyecho ja’ni ni to a’mi, tumi kii diyecho kichu ja’ni…” (P.S. 1980)


Baba, what You want I do not know, but what You have given me – about that a little I know, by Your grace. I have not offered anything to You, only I have always gone on extending my own hands in order to receive more and more.

Baba, You have sent me on this dusty earth with human form. Indeed, You have certain plans and programs to be done by me; You have certain desires and hopes that I do not know, nor do I want to know. Only I know that I have wasted my life in useless altercations and letharginess.

The precious time of this human life has gone in vain. At the proper moment, awareness has not come in my mind. Time has passed like this. My days have passed in self-indulgent activities and entertainment. Today I am sitting in the desert counting the stars.

Baba, still I have full faith that You will grace me and bring me onto the right path…

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Date: Sat, 23 Jun 2012 08:58:29
To: am-global@earthlink.net
Subject: Re:[5]DMS News: Uncultured Dance in Cultural Program
From: Nirainjan Deva



(Note: This is the sixth letter on this thread. Please find links to the five earlier letters below. – Eds)

To Acintanandaji and those others who supported this issue to promote female adult dancing in our RAWA programs at DMS.


I have been closely watching this Rawa discussion…

Dada Acintanandji spoke:

“Mrinal Pathakji is establishing Ananda Marga bhagavad dharma through these cultural programs. His work is unparalleled. He is a true dharmika. With Rawa, dance dharma will be established gradually. Everyone should follow in his footsteps.”

Brother Divyam’shu replied:

The fact is that Mr Pathak’s dance programs are strongly influenced by Bollywood sensuality. As a performance director, he takes all his cues from the materialistic movie / fashion industry. That is why there is so much pseudo-culture in his dance productions that are done under the banner of Rawa. So how could a highly posted Dada like Acintanandji think that Pathakji is establishing dharma? Dadaji’s analysis is quite disturbing.

My further reply to Acintanandji:

Dadaji, think about the recent cultural program in AM. Undoubtedly you have seen or heard about the program at DMS wherein mature 16 – 21 year old females and males danced together. Then honestly ask yourself if seeing that dance – you can just question yourself, no need to tell anybody – brought your mind towards Parama Purusa or somewhere else.

If it was going somewhere else, then do not impose or support such programs. Otherwise you are merely befooling yourself and hurting the Marga.

Not only that, even if your mind was ensconced in Parama Purusa by His grace, even then you should come forward and join those who oppose such so-called cultural programs. Because right now many are complaining about these so-called cultural programs and how they do not lead the mind towards divinity, but rather push the mind in the other direction. Ok, perhaps you are a truly superior sadhana and you were able to keep the mind pointed on the divine; even then, have a heart for those of us who struggle with this. Give us some sympathetic support.



#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

#5: http://am-global-01.blogspot.com/2012/06/re-dms-news-uncultured-dance-in_20.html

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Date: Sun May 06 2012 21:58:48 -0000
From: “Shivadayal Singhal”
To: am-global@earthlink.net
Subject: Baba’s Way of Starting Ananda Marga


“Eso prabhu a’ma’r ghare toma’y a’mi ceyechi…” (Prabhata Samgiita #946)


O’ Prabhu Baba, please come in my home – with a deep yearning & longing I am calling You. Baba, I want You close. Please listen to the suffering of my heart which is grief-stricken in Your absence. Baba, O’ Parama Purusa, I am living only for You; my life is for You.

Baba, You are the divine tower of effulgence on my dark path; and, You are the warmth of my broken heart. Baba, You are the quintessence of the sandalwood paste of my forehead; O’ Lord You are pure and filled with divine effulgence.

O’ Cosmic Entity, O’ Baba, You are that type of pure joy & happiness which one feels after receiving recovering something that was lost long ago in the past. Baba, by Your grace I have understood You. Baba please come close in my heart. You are my most dear. For You I have kept nectar filled in my heart. Baba, please come to me…


~ Part 1 ~


There were a few who thought that there was no long-term need for a sannyasi order (i.e. our WT cadre) in Ananda Marga. They thought that the creation of Wts was just a temporary phase and that family persons will again gain full control of the Marga.

Most notably, respected family Ac Pratapaditya fell in this category. From time to time he would write like that; and there were others who expressed this perspective as well.


Of course, we all know that family people have certain limitations and time constraints: Raising kids, professional obligations, local relations etc. Naturally it is clear that family people do not have the flexibility that wholetimers have and hence cannot do the things which WTs can do.

Anywhere, anytime those Wts can be sent from one corner of the globe to the other. And they will stay there permanently till the next order comes. They have to attend to calamities and manage the relief work and provide services etc. How can family persons take up that task when they have children, jobs, and the responsibility of running AM in their local area etc.


So if anyone is still thinking that the creation of the WT cadres is just a temporary measure because the wt cadre was not introduced in the very beginning (i.e. 1955), but rather in 1962, then they should consider 16 Points, paincajanya, kiirtan, fasting, Prabhat Samgiita, neo-humanism, master units, gurukul, tandava / kaoshiiki, and sentient food etc. These practices were also added later on, i.e. after 1955. Step by step Baba introduced all these points. Should we conclude that these “additions” by Baba are also just temporary measures.

Those with a deeper understanding know that Baba planned everything ahead of time. And when it was the opportune moment then in a methodical manner He introduced new points. It is just like how parents do not send their infants off to university for higher studies. They wait until the time is right: When the children are older.

Similarly when there was a certain need etc, Baba would introduce something new. Or, at least, on the surface it looked like that when actually He was just implementing those things which were already in His mind. So it was just a matter of how He was playing His liila.


As we all know Baba started this great organization in 1955. And initially there was no WT system. In the very beginning, in those early days there were only regular Margiis– no family acaryas or tattvikas. That time Baba was the only One involved in doing initiations. Actually He was personally doing everything. Not only initiations, but Baba was teaching asanas to the margiis and even demonstrating all the poses Himself. That was part of the beauty of those early days. But, unfortunately, those around were not thinking that Baba was Parama Purusa. They perceived Him as just an ordinary guru.

Also when going to DMC then the family margii serving as Baba’s PA would live together along with Baba in the same room. Each with their own cot side by side. So that time Baba wanted to bring people close. But those early margiis were not thinking that Baba was so great and mighty – due to that same feeling of closeness. This held a certain charm.

Of course, over time the system changed and later on PA Dada would take a room next to Baba’s. So PA would not stay in the very same room as Baba – but that was later on.

In addition, in those early days Baba was still working in His government job. During this time, He Himself had initiated many margiis, whenever He had time – after His government office hours in His personal quarters or whenever. Many are aware about how things were working that time.


Gradually many good Margiis were created by Him. Finally one tattvika training session was arranged wherein Baba started giving tattvika classes. Baba Himself was the teacher.

Around that time, Baba was delivering His teachings on AM philosophy which came into print as the books “Ananda Marga Elementary Philosophy” (1955), “Idea and Ideology” (1959), Ananda Sutram (1962). Naturally it was needed to have qualified disciples to explain and spread these teachings.

For this reason He was leading tattvika classes. During the time of tattvika training there was a very strict routine with lots of discipline. Many Margiis from far and wide participated. Most of them passed and became tattvikas, by Baba’s grace. In the next session Baba blessed them and made them family acaryas.

Gradually, by this way, Baba stopped performing initiations Himself. Of course Baba remained ever-active in countless works. Indeed, He was involved more deeply because a huge number of initiations were done by the new tattvikas, and Baba was giving PC (personal contact) to new Margiis as well as expanding the organisation on many fronts.

The basic progression was:
1. First Baba was initiating new people Himself.
2. Then the system was made where margiis had to get permission from Baba before bringing a new person to Him for initiation.
3. Therefter Baba created tattvikas and then family acaryas to initiate new people. By this time Baba had stopped performing initiations Himself.


So as the community of Ananda Margiis grew, so many things were happening. DMCs were going on and many villages were blessed by Baba to host DMC – especially in Bihar and in northern Bihar. Baba was doing maximum pracar there – where He literally travelled from village to village, town to town. Baba reached many places where even travelling by bullock carts was not possible. He went by elephant – how wild it was. Human beings could not even walk there due to the deep mud. What a divine liila those days! There are countless stories recounted by margiis. How sweet and blissful it was.

(Note: This concludes part 1 of this multi-part series. Please watch for the next letter soon that further recounts the glorious and dynamic history of the formation of AMPS.)

Shivadayal Deva

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