Pndurang Shastri Athavale

Pandurang Shastri Athavale, popularly known as Dada, is a philosopher cum social reformer. He is credited with being the founder of the Swadhyay Movement. Not present in the world anymore, Pandurang Shastri Vaijnath Athavale was known for giving extremely moving discourses on Srimad Bhagavad Gita and Upanishads. Infact, he tried to motivate his followers to spread the thoughts of Geeta in the society. Given below is the complete biography of Pandurang Shastri Athavale

His Life History
Pandurang Shastri Athavale was born on 19th October 1920, in the Roha village near Mumbai city. His grandfather was Laxman Rao, a renowned scholar and Brahmin who was involved in the spread of Bhagavad Gita amongst the Dalits. Pandurang grew up watching his grandfather go to the Dalit area and then take a bath after coming back home. Surprised by this act, he asked Laxman "If in the Bhagavad Gita the Lord exclaims that God exists within all human hearts, then how can anyone, including the so-called 'untouchables', be considered inferior to anyone else?"

After that, he made a vow to himself that he would always try to see the God within others. Hence, he became the proponent of the concept of "In-dwelling God". By the age of 22 years, Pandurang Shastri Athavale started giving discourses at the Shrimad Bhagavad Gita Pathshala, a school that was set up by his father. In the year 1954, he attended the Second World Religions Conference, which was held in Japan. At the conference, he delivered a speech on the concepts of Vedic ideals as well as the teachings of the Bhagavad Gita.

Even though most of the people rebuffed his views; there was one person who was very impressed with him. He was Dr. Wilson Compton, who then offered Pandurang a post in the USA to spread his ideas and views. However, Pandurang politely turned down the offer. He then devoted himself in establishing a model community, through the spread of Vedic thoughts and message of the Bhagavad Gita. Thus was born the Swadhyay (meaning 'self study') Movement, which spread the message of the holy book not only in India, but the whole world.

The family members of the Swadhyay Pariwar are called 'Swadhyayees' and include people from the upper as well as the lower classes. The Swadhyayees who spread the ideas of Athavale throughout the country are known as "Krutisheels' or the people of action. Pandurang Shastri Athavale also founded an institute, known as Tatvagyan Vidhyapeeth, where young people study and learn his views and ideas. Pandurang left for the holy abode on 25th October 2003, in Mumbai. His adopted daughter, Jayshree Talwalkar, is carrying on his work today.

Recognition

* Ramon Magsaysay Award in Manila, Philippines (1996) - for community leadership
* Templeton Prize in Westminster Abbey, London (1997)
* Padma Vibhushan (1998) - for his efforts towards social reform

Pictorial Representation Of Dada Bhagwan's Sayings

Please Click on the pictures to see the message and enlarged pictures.

Stones That Speak

Stones that speak
GOWRI RAMNARAYAN

A MARVEL OF MAHABALIPURAM: Shiva instructing his disciple Tandu who gave the name Tandava to the art.
city of ponds and lakes’ A bridge with a view
TOPICS
arts, culture and entertainment culture (general)
history

After 32 years in IIT, Delhi, what inspired Professor S. Swaminathan to write about Mahabalipuram? Gowri Ramnarayan meets the engineer-turned-author

How did a mechanical engineer turn into an expert in ancient monuments? How did Professor S. Swaminathan, after 32 years at IIT, Delhi produce a coffee table book on “Mahabalipuram: Unfinished Poetry in Stone” with photographs by Ashok Krishnaswamy?

A casual trip to Ajanta in 1963 triggered a life-changing experience. Swaminathan realised that he had no background on the breathtaking wonders of the 29 caves. “Our monuments have become picnic spots. We have no understanding of heritage.” His anguish took positive shape when he devised a course in art and technology. “IIT is an export zone. The student's mind is in the U.S., he knows Cincinnati, not Tiruchirapalli. But a 5,000-year-old heritage cannot be trivial! Where is identity without culture?”

Five years of research on Ajanta resulted in a book with exhaustive details about every cave and fresco — location, layout, stylistic phases, politics, patronage, theme, composition, technique, pigment — even details about portrayal of women and methods of rendering limbs.

He has documented Ajanta in sleeve notes that “you can enjoy sitting in the drawing room,” he laughs, admitting that “you” is really himself. Pulling out more unpublished sleeve notes and “books” he adds, “Until age 70 my name was printed only on the IIT prospectus. Now I find it on the cover of Mahabalipuram.” It was preceded by an elaborate source book and months of photography. “We're planning a cheaper edition; the people I write for can't buy a book for Rs. 2,500.”

He continues reflectively, “I'm a loner, like doing things for myself. Nothing commercial. Whatever I find is on the public domain, on my website. Many download stuff when they travel to Ajanta or Nalanda or Sittannavasal”. The engineer in Swaminathan gravitates to the material and craft methods of the past. He probes into the growth and direction of thought in the community that shapes its art forms. “We look at the wrong end of the telescope. What we see in heritage sites is not art, but the outcome of extended meditation.”

Studying a bewildering range of subjects from Tamil prosody to cartoons and Gandhian philosophy, Swaminathan is fascinated by Brahmi, the mother of all Indian and most south Asian scripts, and Grantha, developed by the Pallavas to write Sanskrit.

“I dream,” said the retired professor when a man he met by chance asked, “What do you do?” He was probably thinking about cultural centre Sudarshanam, launched in hometown Pudukkottai. But the questioner, industrialist GRK Reddy, persisted in knowing more and Swaminathan found himself supported by Marg Swarnabhoomi to publish Mahabalipuram. “I've been given an office too, to work on any project I like.” A crucial interest is starting heritage clubs with location specific cultural study in village/district schools.

The Taj Mahal is everywhere. What do we know of the greater marvels of Mahabalipuram?” asks Professor Swaminathan. “Every one of its motifs is singular, unique, no repetition. A lion with a Mahishasuramardhini carved on its stomach! Every ratham (chariot) is fashioned differently. The Arjuna Penance is the pinnacle of sculptural vision. Spare ornamentation and subtle details achieve superb classicism. Can you find a more accomplished emperor, Mahendra Pallava?” he wonders. His “Mahendra trail” of the visionary king titled Vichitrachitta, has become well-known. He has conducted courses in the old port for tourist guides, as also residence seminars involving eight hours spent daily in front of bas relief, monolith and cave. “Nowhere else do we find all three in one spot.”

Swaminathan does not see himself as a scholar, but a rasika who wants to introduce what he enjoys to others. “I'm no author jumping from book to book. But I do want to write on the Kailasanatha temple, Kanchi.” No, he has not set specific goals for himself. “My greatest joy is that I have sensitised many students to the value of our heritage. Many write and say I have transformed their way of thinking. What more can I want?”

The Book:

Mahabalipuram: Unfinished poetry in Stone

Beginning with the first cave temples excavated in south India (Mandagapattu) by Mahendra Pallava (590-630 CE), the book looks at the countless works of art scattered on the Mahabalipuram shore. To the breath stopping parade of cave shrine, bas relief, monolith and even regional flora, quaintness and riddles add spice — an inscription of a Saivite curse on a Vaishnava shrine, the mystery of the tiger cave, speculation on whether Arjuna or Bhagiratha is the central ascetic in the Great Penance…

No jargon in the chatty ‘in' style. The visual close-ups engender empathy and intimacy. What stands out is the writer's and lensman's eagerness to share their passion for the sweep of imagination and craft splendour in these Pallava marvels, as the author traces the legend, composition, and details on the walls. Turning the pages is to watch stone springing to life in this magnificent sculpture garden.

The images of Mahendra Pallava, flanked by his queens, or cleverly representing himself and Lord Siva in the same figure at Lalitankura Pallavagriham (Rockfort, Tiruchi), establish an irresistible human interest in this saga of unnamed sthapatis who left by the rolling waves their exquisite odes to the gods, and to the human spirit.

The Photographer

A visual communications professor who works with some of the highest brands in India and overseas, a trainer in graphic art tools, photography, visual design and animation, Ashok Krishnaswamy was prompted by an associate's query, “What have you done for society?” to document old temples as a quiet personal mission.

As a young man Krishnaswami learnt photography at Mahabalipuram, with a cheap camera and scrounged film rolls. Despite the immense advances since then, the project posed its challenges. The Arjuna Penance bas relief had to be captured in multiple frames. Negotiating the narrow space at the Dharmaraja chariot was quite a task. The huge Govardhan panel in the Krishna mandapam? “I took each portion between the pillars and stitched them together.”

Song Of The Spirit

Like the protagonist of his solo play on Swami Vivekananda, singer-actor Shekhar Sen won the hearts of one and all.

The life and vision of the man divine, Swami Vivekananda was presented by Impresario India in an incredible musical play written, composed and enacted by the renowned actor-singer Shekhar Sen from Mumbai at Kamani auditorium this past week. The outstanding performance of this gifted artiste encompassed the life of the patriot saint whose vision of shared spirituality and eloquent message at the World Parliament of Religions at Chicago conquered the hearts of people from across the world. Disclosing the making of this dynamic saint, the two-hour long riveting play unfolds the stories of his childhood, the impact of the Brahmo-Samaj on him, his eagerness to find God and meeting his revered mentor Ramakrishna Paramhamsa, his unforgettable Chicago speech, and so on.

A talented singer, composer, lyricist and actor, Sen left the audience awestruck, debating whether he was a better singer or actor, after his spellbinding performance as Vivekananda. With a solid background provided by his initial training in classical music from an early age under his parents Anita and Arun Kumar Sen, both renowned vocalists of the Gwaliar gharana, Shekhar later established his distinct identity by singing poetry of the medieval poets. He has done more than 1500 shows across the world. With 190 cassettes and CDs to his credit, he has also sung for the record-breaking serial “Ramayana”. After the resounding success of his musical mono-acts on Goswami Tulsidas and Kabeer, “Vivekananda” represents yet another milestone for this gem of an artiste.

The thoughtfully conceived solo play “Vivekananda” comes alive with moving dialogues and melodious music offering a rich variety from simple traditional folk tunes to classical to Bangla geet , along with the authentic khol and manjira accompaniment.

The Meera bhajan “Daras bin dookhan laage nain” based on raga Hamsadhwani conveys Naren's poignant yearning to see God. The first song he sings for Swami Ramakrishna is a Bangla song in raga Desh with the folk fragrance of Bengal. “Nirgun Nirakar” in raga Jog set to drut Ek tala offer a comely contrast next. When asked by his mentor to sing “pukka gaana” (classical music), he impresses with an impeccable Bhairavi bandish “Maa Kaalika” set to drut Teen tala.

If “Prabhu mere avagun chit na dharo”, composed in Chandrakauns and sung by the tawaif in the court of Khetri Maharaja, has all the pathos to evoke Vivekananda's remorse and compassion, the dhrupad in raga Darbari, “Har Har Mahadeva” is the ideal composition to be sung as an invocation to Lord Shiva at Amarnath.

The delightfully difficult syncopation in “Tahi aheer ki chhoharia, chhachhiya bhar chhachh pen ach nachavai” showcased Sen's immaculate command over the rhythmic aspect as well. The concluding Bhairavi bhajan “Itana to karna Swami jab pran tan se nikale” gave the intimation of Swami Vivekananda's nirvikalpak samadhi.

Impresario India deserves kudos for bringing this outstanding presentation to the art loving audience of the Capital.

Maitryee The Vedic Village

Maitreyi — The Vedic Village

Near Pollachi

USP: Rejuvenating the mind, body and soul

It is like looking through absinthe — everything is awash in green. Undulating swatches of lawns, coconut plantations, vegetable patches, tulsi in brindavans in front of every cottage — just green, green and then some more. The eyes feel rested. The quiet is heady.

The unwinding begins even before we reach Maitreyi Vedic Resort. In fact, a little out of Pollachi and the tension begins to ebb. Thoughts of giving it all up and migrating to this patch of rural bliss become urgent.

The resort is sanctuary-like, keeping the mad, bad world at bay. Twenty five acres of freshness, and a view that includes the Anamalai Hills, in the Western Ghats. What else does one need?

Plonk down on the charming red oxide benches outside your cottage. You have a ringside seat to Mother Nature's lavish production. A concert of bird song, where insects provide the background score; streams gurgle and trees shush, keeping time.

Like the ashrams of yore, Maitreyi has been created following Vastu Shastra. Everything has a reason to be where it is. The cottages are elegant, simple and very comfortable.

So, what do you do all day? Several things, only if you want to. Transcendental meditation is one of them. The resort offers its guests a short course. According to Uwe, who is German, and runs The Vedic Village, “The idea is to spread the knowledge contained in the Vedas.” So, it is about simple living and high thinking. A ramble around the property and we spot neatly laid out vegetable plots (all organic), fruit trees and beaming cows in their shed. There is yoga for those who prefer to deep breathe their way into the day.

If all that pure air and scenery gets too much, seek refuge in a massage. Just book yourself for an Ayurvedic spa. Maitreyi offers its guests a variety, ranging from an hour-long rejuvenating session to one that lasts up to three weeks for specific health-related treatments.

If it is detox of the mind, body and soul you are looking for, then Maitreyi is pretty much your place. Simple meals are served in the dining room. The resort is pure vegetarian and, for all you satvik souls out there, onions and garlic are not used either.

A big hall doubles as a conference room, or in case of music and dance concerts, as an auditorium.

Vishakha Hari The Harikatha Exponent

From a CA topper to a sought-after harikatha artiste. Vishakha Hari tells Chitra Swaminathan that kathakalakshepam is a way of life for her

Vishakha Hari is in her early thirties but walks in a madisar (nine-yard sari) with the élan of a veteran. She is an all-India rank-holder in chartered accountancy but revels being a raconteur. She grew up in Chennai but prefers the spiritual aura and serenity of Srirangam. She travels widely for her performances but leisure is spent studying scriptures and rehearsing upanyasam and sangeetham.

In this e-driven world, Vishakha is an anachronism; drawing full houses with her musical discourses. And at a time when snazzy pictures and sound bytes are a must for success, Vishakha insists “what have I achieved, why are you clicking so many pictures? One small photograph and a short write-up focussing on harikatha should do.”

So the brief photo shoot-cum-interview begins late in the morning at Nageshwara Rao Park, (after we convince her that the outdoors would be better) where walkers stop to greet her with a namaskaram. After a few shots are taken, she is ready to leave. “Enough?” she asks and we nod rather hesitantly. It's time anyway for the park to be closed. We then gently suggest taking a few more pictures at the nearby Kapaleeswarar temple tank. Anxious about the packed day ahead and her late evening trip to Bangalore for a performance, Vishakha reluctantly agrees. And as she alights the steps to the temple tank, her face suddenly lights up and with child-like charm she remarks, “Oh, this is so serene and wonderful. I could read and sing here the whole day.”

Evidently, she instantly connects to places with spiritual vibrations. Vishakha then turns to tell you she never visits beaches or parks. Anyway, there is not much scope for sightseeing in her hectic travel itineraries.

Does she not think about life beyond the humdrum of performances and practice? “For me, kathakalakshepam is not just about performance. It stays with me even when I get off stage. There is no such thing as professional or personal life. They blend seamlessly. And I have chosen this way of life out of passion for the art form. So where is the need to think beyond it?” she philosophises with flair.
Inspiration from home

She was 22 when she took to this age-old art form after marrying into the family of celebrated harikatha exponent Krishna Premi. Vishakha's husband Hariji also conducts discourses.

A disciple of violin maestro Lalgudi Jayaraman, Vishakha's early and elaborate training in classical music helps her convey eloquently the essence of the ancient texts.

“Home is where inspiration comes from. I draw from my father-in-law's experience, rich repertoire of stories and the numerous books penned by him. Observation, reading, research and rehearsal are essential to upanyasam,” says Vishakha, clad in a blue pattu sari with a bold peacock-shaped brooch pinned on the talapu (pallu). The simple accessories — mookuthi and jhumki — have the same old-world appeal as her art.

Doesn't she find draping the nine-yard every day cumbersome? “It is all in the mind. In Chennai or Cleveland, I am always clad in it. It was extremely cold when I visited the U.S. for a recital, but I stuck to my dress code,” smiles Vishakha.

Though kathakalakshepam conjures up images of a serious religious discourse attended by a small gathering of elders, Vishakha's harikatha performances have a huge following. Her distinctive and vibrant style of coherently weaving stories from the past, peppering them with contemporary metaphors and punctuating them suitably with classical compositions keep the audience, comprising the old and the young, engaged till the last word is uttered. Her reach is wider because she performs in English outside Chennai. She spoke on “Role of education in international development” at the House of Commons in the U.K. She has also released six DVDs that are quite a sell out.

How does she react to criticism that there is more music than discourse in her upanyasam? “There are such evocative verses and compositions by great saints that lend themselves beautifully to the stories from epics and mythology and make it easy to convey the inherent message or philosophy,” she replies with schoolgirl-earnestness.

Does she plan to introduce new elements into her performances to make them more appealing to the young? “That's not warranted if youngsters have a basic awareness about our arts. They will eventually learn to appreciate their beauty. Parents need to introduce children to our heritage, art and culture. You know the phrase ‘catch them young' has reference in mythology too. Prahlada talks about it in ‘Koumara achareth pragyaha' when he reforms asura kids and talks about inculcating good achar in children for them to lead a wholesome life,” she says lovingly patting her son, Rajagopala.

Many Happy Returns...........Krishna

A News Item In The Hindu

ISKCON temple is all set to usher in Krishna Janmashtmi

If there is a god for all seasons, it is Krishna. His teachings, his personality and his aura transcends generations. As we celebrate one more birth anniversary of the loveable god, temples are decked up for Krishna Janmashtmi. One of the biggest centres of activity is ISKCON temple in East of Kailash.

Formed by a group of Hare Rama Hare Krishna followers in 1998, the International Society for Krishna Consciousness propagates Krishna's beliefs and path to attain enlightenment.

According to Vrajendra Nandan Prabhu, ISKCON India Communications, for the first time there will be a Radha Krishna swing pastime (jhulan yatra jhaanki).

“It is one of the top most attractions with life size forms of Radha and Krishna seated on a swing under a kadamba tree. Thousands are expected to rock the swing and receive transcendental mercy of their lordships.”

In the mini amphitheatre of the temple there is all encompassing Krishna dancing on the multiple hoods of the serpent Kaliya crushing his false ego. The transparent blue waters add to the mystique of this timeless tale.

During the celebrations, a play on ‘Krishna Leela' was staged by Bhakta Prahlad School.

Science and spirituality

In an interesting mix of science and spirituality, a committed team of IIT and DTU students have set up a multimedia presentation stall with a question and answer booth where principles of Vedic wisdom are scientifically answered. For the inquisitive, ISKCON's Youth Forum wing has designed presentations on various themes like God, peace, Vedic culture, etc to give the celebrations an intellectual tone.

At midnight, there will be maha-abhisheka of the lord in the midst of sankirtan, dance and prasadam. The lord's attire has come from Vrindavan. The altar of Krishna has been decorated with flowers and fruits from India and abroad.

“Last year, we witnessed four lakh devotees and this year we expect half a million devotees. One of the biggest challenges that we face is people getting carried away. They start dancing in a trance. Security and traffic issues become a problem, but this year security will be extra-tight,” assures Prabhu.