na gacchatu.

 mano nama  maha vyaghro visay aranya bhumisu

caraty atra na gacchantu sadhavoye mumuksavah.

A great tiger whose  name is the mind wanders in this world. The objects of senses are the forest where the great tiger wanders therefore one who is desirous of liberation should not go there.

Vilina

 Sthita prajno yatir Ayam yah sadanandam adnute.

Braman,Eva vilinatma nirvana viniskriya 

Only he whose understanding is established enjoys, because he is always merged in Brahman which is changeless and action less.

Refrain.

 Vidya phalam syad asato nivrttih

Pravrttir ajnana phalam tad iksitam

Tajn ajnayor Yan mrga trsnikadau

No ced vidam drsta phalam Kim asmat

This is the effect of wisdom  to refrain from taking unreal things or if taking to take them as a work of ignorance. Eg mirage.

one director.

 Lord Narayana’s abode, Paramapada, is a place beyond time, whereas the Earth is bound by time. And yet the Lord chose to come to this Earth on many occasions to save His devotees. He is not bound by karma, but we are, said Kidambi Narayanan in a discourse. When Dhritarashtra weeps for his dead sons, Lord Krishna tells him that everyone operates within the framework of time. Here what the Lord is indicating is that everyone is bound by karma. None can escape its consequences. This being so, how can any relationship be permanent? What use then all the grieving over death? Will the same persons be our relatives in subsequent births?

Imagine a flooded river. A twig happens to fall into it. Does the twig have control over which direction it moves in? The flood carries it along. As this twig is being dragged by the flood, another twig falls into the water, and briefly the two twigs move close to each other. After sometime, it is possible that one twig may be washed ashore, but the other may still keep moving. This is how people come together in life, not by their will, but because of their karma. They cannot choose their parents or other relatives. They cannot determine when they should be born or when they should die. We shower affection on our dear ones, only to have them separated from us at some point. We are like the twigs being pulled together by water, and then being separated.

It is Lord Narayana who directs our lives, in accordance with our karma. He gives us the results we deserve for our karma. That is why Brahma praises Vamana, who is in Aditi’s womb as the One who controls the world. The One without old age, without death, the One who need not be born, the One without karma — that Supreme One was born to Aditi as Vamana.

dance like a boy.

 They are known as Gotipuas (‘goti’ means single and ‘pua’ is boy in Odia), but they have to dance dressed as girls and in groups. Born out of the tradition of devotion, the struggle for survival over the years has reduced them to mere entertainers. A precursor of Odissi, Gotipua is now facing the biggest threat from Odissi itself.

“There was a time when Odissi followed the Gotipua dance style. Now it is the other way round — Gotipuas follow Odissi,” said Sangeet Natak Akademi awardee and well-known Gotipua guru Birabar Sahoo in an interview to this writer a few years ago. .

Ironically, on a recent trip to village Dimirisena, located about 35 km from Puri and known as the cradle of the 400-year-old Gotipua tradition, I attended a dance festival that featured mostly Odissi dancers.

Organised by Satyapira Palai, a well-known Gotipua exponent, the annual event was meant to showcase the village’s dance heritage. “It is here that Gotipua is practised as an offering to the divine, and in its most authentic form, without the modern acrobatic movements. We adhered to tradition even with costume, make-up and music. But this meant losing out on performance opportunities outside Dimirisena. Some 30 years ago, for the survival of our troupe, we gave in to the demands of festival organisers and brought about changes in our presentation. Yet, we have not completely lost touch with the tradition of dancing for the gods,” says Satyapira.

If Gotipua dance has survived and is being performed across the globe today, it is due to bandha (complex body postures) and the formation of human pyramids that has become the principal attraction of the dance style, say its exponents, including Satyapira.

“Gone are the days when kings and zamindars patronised Gotipua troupes. We are now entirely governed by market forces. So we have no choice but to cater to changing trends,” says Bhubaneswar-based Bijay Kumar Sahoo, an Odissi dancer, who grew up performing Gotipua at Balunkeswar temple in Dimirisena. He now owns a popular Gotipua troupe, Naxatra Gurukul, that gets several opportunities to perform and earn.

However, there is one exception. Gautam Mohapatra, who also used to perform at Balunkeswar temple, has been teaching at Nilakentheswar Gotipua gurukul near Dimirisena for the past 12 years. He still follows the tradition of the boys singing and dancing simultaneously. Gautam’s repertoire has more avinaya (expressional dance) pieces set to songs of medieval Odia literature and the choreography excludes gymnastic poses or human pyramids. In 2011, he surprised everyone with a solo presentation in the true tradition of ‘Gotipua’, at the first-ever Gotipua festival hosted by the State government in Bhubaneswar.

“When Chaitanya Mahaprabhu’s Gaudiya Vaishnavism entered Odisha from Bengal, it influenced a panoply of religious and cultural practices. Its paratopic religiosity generated the Gotipua tradition. Gotipuas were celebrated for their artistic virtuosity and religious devotion,” says Anurima Banerji, associate professor of dance at the University of California-Los Angeles, who researched the Devadasi and Gotipua traditions for her recently published seminal book, Dancing Odissi. Unlike the Maharis, the devadasis of Odisha, whose role was confined to the temples, Gotipuas had the advantage of performing at both sacred and secular spaces, both for gods and for people. As a result, they have been the carriers of Odisha’s dance, music, literature and religious beliefs over centuries. Odissi thus owes more to the Gotipua tradition than the Mahari.

“Although Odissi imbibed a lot from Gotipua and gained global recognition as a classical dance form in a very short span of time, Gotipua was totally marginalised. While the child got recognition, the mother was ignored,” rues septuagenarian Guru Gobinda Pal, an exponent of both Gotipua and Odissi.

ramaya

 Adi Sankara’s Stotra granthas are capable of making a powerful impact on one who learns them with interest. While these hymns are noted for their extraordinary devotional quality, they are also packed with the profound Upanishad truths on Brahma Jnana. The devotee thus is inspired into a spiritual experience where bhakti and jnana get merged in a seamless manner.

For instance, in the Rama Bhujanga Stotra, the acharya while extolling the greatness of Rama avatar also indicates that Rama as the very Absolute Brahman is the ultimate end and goal, said Sri K. Srinivasan in a discourse. Even at the outset, he salutes Rama and addresses Him as the eternal form of Taraka Brahma when he draws from the purana beliefs in the power of Rama Nama. In the puranas such as the Skanda and Padma, it is stated that regardless of one’s spiritual attainment or one’s karma bondage, if one happens to die in Kasi, he gets liberated because Siva chants the Rama Taraka Mantra in his ears. A verse in this hymn alludes to Siva’s chanting the Rama Nama thrice to liberate the souls in Kasi to show the special value of the Rama Nama in helping people cross the ocean of samsara. It is also held that when Siva first revealed the efficacy of the Rama Taraka Mantra to Goddess Parvati, He mentioned that chanting the Rama Nama is equal to chanting the Sahasranama of the Lord. In the famous verse ‘Sri Rama Rama Ramethi Rame Rame Manorame,’ Rama Nama is repeated thrice. The acharya reinforces the truth that Rama is the manifestation of the Absolute Brahman. Hence, meditation on the form and qualities of Rama also leads to the realisation of Brahman. Rama has taught by example the way to lead a life of virtue, dharma, viveka and vairagya and thereby to strive for liberation.

Ramajogi mandu

 raamajOgi mandhu

raagam: vasantaa

17 sooryakaantam janya
Aa: S M1 G3 M1 D2 N3 S
Av: S N3 D2 M1 G3 R1 S

OR

kamaas

28 harikaambhOji janya
Aa: S M1 G3 M1 P D2 N2 S
Av: S N2 D2 P M1 G3 R2 S

taaLam: aadi
Composer: Badraacala Raamadaas
Language: Telugu

pallavi

rAmajOgi mandu konarE pAmaruvAra

anupallavi

rAmajOgi mandu mIru prEmatO pUjincapunaTE kAma krOdamula nella kaTagu pAradOlE mandu

caraNam 1

mada matsaramulanu mATalO nilipETimandu kudikonna karmamulanu gUDaga neDadolE mandu

caraNam 2

kADuga koNDala vaNTi karmamu leDabApe mundu sATivElu jagamulandu svAmi rAmajOgi mandu

caraNam 3

kOTi tanamula iccEdamani konapOyina dorakanimandu sATilEni bhAgavatulu smaraNa jEsi dalacE mandu

caraNam 4

badaraka shrI hari bhaktulu paTana kAvincETi mandu mudimuna mUrkha janulaku mOkSa mosagEDi mandu

caraNam 5

mudamutO bhadrAdriyandu muktini pondincE mandu sadayuDaina rAmadAsu sadbhaktitO golicE mandu.

Oh ignorant men, why don't you buy divine Rama's ascetic medicine?.

Rama jogi medicine eradicates lust and anger if you take it heartily. The medicine instantly eradicates arrogance, envy and avarice. It dispels accumulated sins.

This medicine is capable of dispelling even worst sins as huge as jet black mountains. This is unique medicine in this world.

This medicine can't be purchased even by spending crores of rupees. Ardent devotees only can obtain this incomparable medicine by meditating upon Rama.

This medicine bestows salvation easily at Bhadradri. Gentle Ramadasu takes this with pure devotion.