Harmukh bar tal praraey (zaagaey) Madano

Harmukh bar tal praraey (zaagaey) Madano
I will wait at the gates of Harmukh, for you my love
Yee Dapham tee (yee) laagyoo
What ever you ask, I will offer
Posh (shaeyri) dapham
Ask for flower (Lavander)
Golab (shaeyri) laagaey Madano
I will offer Rose (Lavander), my love
Yee Dapham tee laagyoo
What ever you ask, I will offer
Phambas ti Naaras mil goom
My Yarn and Spindle, all entangled
Cotton and Fire are now one
Valla tche path dil goom
Oh, God!, My heart is stuck on you
Be'no ye dooryer tchalay Madano
I can't take this distance anymore
Ye dapham ti lagayo
What ever you ask, I will offer
Kabeel'e Drayas Pranaey
I left my old tribe, my people
Kya osum Deklanay
What was the push?
Be'no ye dooryer tchalay Madano*
I can't take this distance anymore
Harmukh bar tal praraey Madano
I will wait at the gates of Harmukh, for you my love
Yee Dapham tee laagyoo
What ever you ask, I will offer
K ongas karmay chamayee
In am tilling in saffron fields
Maenz ho lagith naman
Henna still fresh on my nails
Mushtakh goham kaman Madano
Yearning, for whom, my love
Yee Dapham tee laagyoo
What ever you ask, I will offer
Yaawan myaanay Thazro
My youth is at its zenith
T'chekor dejyo Nazro
Where are your eyes lost?
Kaaei we'tce hung Zazoor Madano**
It is wracked, blotched and decaying, my love
Yee Dapham tee laagyoo
What ever you ask, I will offer
The imagery that the song creates in a Pandit mind is that of Parvati at the foot of Harmukh singing out a love song to Shiva who is still mourning for Sati.

YOGNOPEVET CERMONEY OF POSHEEN' DAUGHTER OF Rakesh Koul

IN ANCIENT TIMES YOGNOPAVEET CEREMONY WAS ALSO DONE TO KASHMIRI GIRLS ALSO....FURTHER DETAILS WII BE POSTED IN NEXT BLOG

YAGNOPAVIT ITS SIGNIFICANCE,AND ITS PERFORMANCE IN AMERICA

YAGNOPAVIT ITS SIGNIFICANCE, AND ITS PERFORMANCE IN AMERICA

Among Hindus, there are sixteen rituals (sanskaras) to be performed from the pre-natal to the post death period. These sanskaras are essential for man’s physical, mental and spiritual development. Their method, mantras and other details have been prescribed by Rishi Katyayana for the entire Hindu Community. In Kashmir, however, we follow these with some modifications as prescribed by Rishi Logaksha. Yagnopavit is one of the most important religious rites of Hindus. The ceremony is also called Upanayana, which means to bring (the pupil) near the teacher for initiation. In ancient times, the Upanayana ceremony was conducted for both boys and girls. It was a custom in Hindu tradition that when a child went to school (Gurukul or boarding-school in those days) to obtain education from his teacher, the first ritual done by his teacher was Yagnopavit sanskar. This meant that the child has obtained the right to education and performing rituals like Yagna, described as the noblest of deeds. The sacred thread or Janue is a symbol of purity and is a constant reminder to the person wearing it to follow the principles of a spiritual life. A Yagna or Havan is performed where offerings are made through Agni or fire to all the Gods and Goddesses who are invoked to bless the boy. Ancient Hindu texts specified an age for the Upanayana ceremony based on the caste. For Brahmins it is supposed to be eight. In some regions of modern India the ceremony is often conducted as an immediate precursor to wedding instead of during adolescence. Yagnopavit is a joint word made of two fragments - Yagna and Upvitam. Yagna means a sacrificial ceremony and Upvitam means sacred thread. Therefore, Yagnopavit is a ceremony where sacrifices are pledged and a sacred thread is worn as a reminder of that pledge. Upanayana is also a joint word made from Upa and Nayan. Upanayana means first step towards the guidance to knowledge which includes spiritual knowledge. Yagnopavit is symbolic of the initiation of a person into performing his threefold-duties to the household, the devtas and to his pitras (deceased elders). The three strands of Yagnopavit represent the manifestation of Brahman as Srishti, Sthithi and Vinasha. The knot in the middle, the Brahmagand, represents the formless-Brahman, the pure form of energy which pervades all. The strands also illustrate the fact that everything in the universe emerge from, and then merge back with Brahman. In Kashmir we also call Yagnopavit as ‘Mekhala’, which is that rope that is tied round the waist of the child at the time of the ceremony and later takes the form of a thread worn round the waist called the ‘Aatpan’ (with the advent of underwear, it is not used anymore). Mekhala also means a circular shape or boundary reminding us of the limits within which to function and which are not to be transgressed. The Yagnopavit ceremony used to be one of the most exalted functions in the life of a Brahmin, particularly a Kashmiri Brahmin. It used to be one of the most important instruments for inculcating and imparting discipline, values of life and the principles of right conduct. But due to major changes in the social and economic factors its importance in the course of time has significantly dwindled. In recent times it has lost its vitality and sublimity and is now reduced to a ‘social play’. To perform a Yagnopavit outside India, the first step is to determine the proper date and time (mahurat). Unlike celebrating birthdays and weddings on a weekend, at our convenience, we have to do it on the prescribed day. In the absence of a Kashmiri Guruji, we have to find a Guruji who can be close to our needs, and my personal preference is a South Indian Brahman. Then we get a list of all the items needed for the Yagna. A Kashmiri Mekhala has three aspects: social, ritualistic and religious. Mehndi-raat, also celebrated during weddings, is purely a social event conducted in the evening. Besides application of Mehndi and a vegetarian feast, there is traditional song and dance till the early hours of morning. Isbundh (a seed that gives a fragrant smoke) is burnt in Kangris at all the functions. The next day is Devgoan. A small havan is performed to invite Gods, Goddesses and deities to be present and seek their blessings for the Yagnopavit. The boy’s head used to be clean shaved leaving the Choti or Chogh, but nowadays he may just get a haircut. He is bathed (kani-shran) with a mixture of yogurt, milk, honey in water, and dressed in new clothes. Married ladies from the immediate family (excluding girls married into other families) wear Taek-taal and Nariwon, most likely to identify them among the crowd (it is like the organizers of a function wearing badges), besides wearing new sarees. A kind of ‘Kichdi’ called Vár with walnuts and Munga-vaer are prepared and highly sought after. In Kashmir, the Pooja and Havan for Yagnopavit used to start in the evening of Devgoan and continue the whole of next day. A certain mantra was recited 10,000 times. Outside of Kashmir, this step is often abbreviated and the entire process takes only 2-3 hours. For the Yagnopavit ceremony the boy wears a saffron colored cotton dress with a cap and carries a willow (can be substituted) twig as a staff. Elder of the family keeps a fast and performs the Havan. One of the traditions used to be having the boy and the presiding elder drink a concoction containing cow’s urine. This practice is also largely discontinued. Throughout the day relatives and friends give alms (Abheedh) after the boy makes a request to them. The alms giving is now a symbolic act reminiscent of ancient institution of obtaining voluntary contributions made for the sustenance of the Guru's Ashram in which the initiated students used to study. The Pooja culminates in the evening with Puran-Ahuti. The boy wears new clothes, provided by his maternal family and is carried by his maternal uncle to the center of a Vyug (Rangoli - circle made from different colored flour or lime) while the ladies sing and dance around him. There are also fireworks. Next, the boy with some members of the family, visit a temple. The function culminates with Prashad in the form a simple vegetarian dinner. Most people celebrate Koshal-huum by inviting their relatives and friends for a non-vegetarian meal the following day. On his marriage the boy gets three more strands on behalf of his wife to make it a six stranded Janeu.

*Dr. Ashok Raina was born in Srinagar and came to the US in 1970. After working in the area of insect behavior and physiology for over 40 years and in three continents, he retired from the US Department of Agriculture in 2008 and currently lives with his wife Santosh, in Maryland. He has published over 170 scientific papers and is internationally recognized for his work on insects. Now he would much like to spend time in reading, writing (not related to insects) and travel. His primary interest is in exploring links between science and Hindu religion ....................POSTED BY  : VIPUL KOUL , EDITED BY : ASHOK KOUL , CURTSY  : MONTHLY SHEHJAR

Shivaratri

Shivaratri The greatest Festival of Kashmiri Pandits *-Gopinath Raina

hivaratri (literally meaning Shiva's night) is a festival of great significance for Hindus all over the world, especially for those of Kashmir. Esoterically, it is symbolic of the mystic union of Jiva (individual soul) with Paramatma (the Supreme Godhead) and it represents the high state of spiritual realization wherein the world of relativity fades away and perfect peace and calm prevails. On this phenomenal night, the seeker remains fully aware of his identity with Shiva, the source of perennial joy, and thus experiences eternal Truth, Bliss and Beauty. (Satyam, Shivam. Sundaram). Close to heart For centuries, Hindus of Kashmir have been observing Shivaratri with utmost zeal and devotion. And the age-old traditions with its elaborate rituals covering three-fourth of the dark half of the lunar month of Phalguna (Feb-March) are followed even to this day, modified, of course, to suit the changing times and circumstances. The 21-day celebrations are marked by the same excitement, exultation and euphoria as in the days of yore. The way our displaced and uprooted brethren have been observing Shivaratri in tents and makeshift tenements for the last 20 years shows how close this festival is to our hearts. Keeping in view its length and religious-cum-social over-tones, it may be compared to Durga Puja and Ganapati festivals celebrated with equal devotion and enthusiasm by the Hindus of Bengal and Maharashtra respectively. Also called Hayrath-Why? In Kashmir, Shivaratri is also called Hayrath, which is the corrupt form of hairat, a Persian word meaning 'utter surprise'. The term, Hayrath, was coined during the Pathan rule in the valley. As the story goes, the Pathan governor of Kashmir, Jabaar Khan by name, forbade Kashmiri Pandits from celebrating Shivaratri festival in winter in the lunar month of Phalgun (Feb-March). Instead, the tyrannical ruler forced them to celebrate it in the hottest month of Aashaadh (June-July). The perverted ruler knew that heavy snowfall always marked the great event as is evident from the following refrain of a song usually sung at Shivaratri time: Suna sheen volun daari daare: Maharaza raaza kumaar hai aav (Flakes of gold snowed slow and steady when prince Shiva arrived to marry princess Uma!). The helpless people obeyed, but Lo' and behold, snow did fall in July that year! The miracle startled everyone, the Pathan ruler, in particular, who expressed utter surprise, Hairat. Hence the new name for Shivaratri celebrations. Since the untimely snowfall resulted in crop failure and famine, the people of the valley faced untold misery. The forced alteration in the timing of the festival, therefore, brought innumerable curses upon the ruler. The people cried out in despair: Wuchton Yi Jabbaar Jandah, Haaras Ti Kurun Wandah! (Look at this wretched Jabaar in rags; he turned summer into winter!). Shiva Chaturdashi As Hindus all over India and elsewhere in the world observe Shivaratri on the 14th day of the dark fortnight of the lunar month of Phalgun, a day after its observance by their counterparts in Kashmir, it is also known as Shiva Chaturdashi. It is believed that Lord Shiva, the 'King of Yogis' and the 'Destroyer-Renovator of the Holy Trinity', manifested on earth on this day to redeem his devotees. The Hindus of all castes and creeds observe fast, offer prayers and spend the whole night in worship of Lord Shiva in homes and temples. However, Kashmiri Pandits too observe Shiva Chaturdashi, not in the lunar month of Phalgun like the Hindus elsewhere but a month earlier in the dark fortnight of the lunar month of Magha (Jan-Feb), when they keep, not just a day’s fast, but a 3-day fast, and worship Shiva with great devotion. They even avoid non-vegetarian preparations in their homes on these days. Puja and its significance The great Shaiva philosopher Utpaladeva describes Shivaratri thus: “When the sun, the moon and all the other stars set at the same time, there arises the radiant light of Shiva spreading a splendor of its own.” Kashmiri Brahmins perform Shivaratri puja on the 13th (and not on the 14th) day of the dark half of Phalguna. For them, it signifies Lord Shiva's wedding with Uma, the beautiful daughter of the Himalayas. And in keeping with their hospitable nature, they offer non-vegetarian food in puja on this day, ostensibly to entertain Bhairavas who formed the major part of Shiva's baraat. The divine marriage has a deeper, philosophic connotation. Shiva in His transcendental (para) aspect is inactive in creation. And His union with Shakti (energy or activating power) represented by His 'consorts', Uma, Parvati, Durga and Kali (variously named to signalize particular functions of the Divine Mother) make the infinite enfoldments in the cosmos possible. According to Kashmir Saivism, Shiva represents the eternal process of creation and destruction, and His nature has primarily a two-fold aspect--immanent which pervades the universe and the transcendental that is beyond the universal manifestation of time, space and form. Shivaratri puja is also called Vatuk Puja. Vatuk is a Kashmiri word meaning 'collection or an assemblage of different objects'. Since the main puja on Shivaratri day involves collection of a large number of articles, it is being called by the name Vatuk. The name could also be traced to the term Vatuk Dev, Lord Shiva's celibate form. In the fitness of things, Kashmiris worship Shiva in this form before solemnizing his union with Uma. They also worship Vatuk Bhairav, supposed to be Shiva's most trusted dwarpal (gate-keeper), in a bid to seek his favor for an audience with the Lord. Preliminary Preparations Year after year, the three-week celebrations begin on the first day of the dark fortnight of Phalguna (known in popular parlance as hurya ukdoh) and end on the 8th day of the bright half of Phalguna. Hur in Kashmiri stands for both singing and whitewashing and the word is used as a prefix to the first nine days of the festivities. Traditionally, the first 6 days (hurya ukdoh to hurya shiyam) were normally reserved for cleaning the entire house to give it a festive look and for collecting the necessary articles like walnuts, utensils and vatuk samagri for main puja on Shivaratri day. In olden times, the houses used to be whitewashed with clay and fresh cow-dung. The subsequent 3 days--hurya sattam, hurya atham and hurya navam (the birthday of goddess Sharika), were devoted to congregational nightlong prayers, preferably in temples at Ganpatyar, Chakreshwar, Pokhribal and Kshirbhawani. On the 12th, a day before the main puja, a new earthenware, freshly baked and specially prepared by the potter for the occasion (now-a-days a pot of steel), is ceremoniously brought to the house and placed on a small circular seat (aasan) made of grass in the room traditionally reserved for daily worship (thokur kuth). Called Wagur, the pot represents the priest who, according to one prevalent belief, acted as Shiva's messenger to the Himalayas to seek his daughter's hand and also performed the auspicious wedding ceremony of Shiva with Parvati. Ritual Worship Prior to the start of puja on the main day, Trayodashi, several pots, representing various deities, including the two larger vessels signifying Shiva and Parvati, are embellished with flower garlands tied round their mouths and dried walnuts deposited in them nearly to the brim. The smaller vessels, representing other deities, are similarly readied for formal worship. A couple of more vessels are also kept ready for lesser deities like the Bhairavas. The ritual worship begins with formal invocation of Lord Ganesha, the remover of obstacles, followed by sanctification of various vessels representing different deities. Abhishek of the cone-shaped clay model called Saniputul is one of the main attractions. Being empty from inside, Saniputul represents the supreme Godhead that encompasses all the elements in the universe from prithvi tatwa (earth) to shunya tatwa (empty space). Saniputul appears to be the corrupt form of shunya putul (pot/idol). The ritual worship continues till late into the night and concludes with the singing of devotional hymns in praise of Lord Shiva and finally aarti. Dunya Mavas Ritualistic Puja of the sanctified vessels reaches its climax on the 15th day called Dunya Mavas (walnut amavas). On this day all the flower-decked vessels are taken to a stream or river for immersion just as the images of Durga and Ganesha are immersed at the close of Durga Puja and Ganapati festivals. Before immersion, the vessels are emptied of the soaked walnuts and brought back home after symbolic Puja at the bank of the river. On reaching home, the ladies would shut the main entrance of the house and not allow the head of the family to enter till he promised certain blessings and boons for all members of the family. The question-answer conversation would run as follows after the head of the family knocks at the door: Q: kus chuva? (Who is there?) ; A: Ram Bror (name of the person); Q: kya heth? (What have you brought?) ; A: anna heth, dhana heth (food, wealth etc). How romantic and fascinating! PRASAD After the final and concluding puja on Dunya Mavas, the soaked walnuts and tumul chut (rice-cakes) are distributed as the main prasad among the family members, friends and close relatives. The use of dried walnuts for both worship and prasad is something very unique in the observance of Shivaratri by the people of Kashmir. Possibly, it has some symbolic purpose inasmuch as dried seeds when soaked pave the way for renewal of life from objects that are supposed to be dead. The process of distribution of prasad continues for a week till Teela Atham, the 8th day of the bright half of Phalguna when Hayrath celebratiions formally come to a close. In good old days back home, a lighted earthen lamp would be placed on ari (seat made of grass) and allowed to float in the river (reminiscent of a similar scene in the evenings at the holy Ganges in Haridwar). On this day of glee and charm, the children used to have had the last laugh. They would burn unserviceable kangris (fire-pots) in the evenings, mostly on the banks of river Jehlum. Known as jatun tuun, in our native language, the festivity was symbolic of the end of severe winter in Kashmir, very much similar to the festival of Lohri in Punjab. Social Aspect Shivaratri provides a wonderful and meaningful get-together for all members of the family. Every member of the household is normally in a festive mood. It is a day of prayer and meditation for the elders and one of fun and frolic for the youngsters, particularly children in their new colorful attires. During the entire period of the 3-week celebrations, all the family members, men, women and children would play with cowries (sea shells). One and all used to enjoy this fun-filled indoor sport, known as haara-baaz. It is customary for the women-folk, the old and young alike, to visit their malyun (parental home) and return to their varyuv (in-laws) with atagat (money in token of love) and kangri (fire-pot), considered to be a good omen on this occasion. The newly-wed girls would normally return from their paternal homes on the eve of the main Shivaratri function, preferably on the 10th day (dhyara daham), bringing with them, what in Kashmiri we call, hayrach bhog (Shivaratri shagun) in kind and cash. In the days gone by, it used to be a challenging time for some in the event of their Hayrach Bogh falling short of the expectations of their mothers-in-law. The proverbial mother-in-law (not uncommon, perhaps, even now) would heave cold sighs, beat their foreheads and curse their luck. Karma Khandit Asam, they would say. Salaam The day after Maha Shivaratri Puja is called salaam, a Persian word for greeting. It is a day of fun and feasting, a sort of Thanksgiving Day when relations, friends and colleagues would exchange greetings. The singing bards and the poor would visit Hindu homes and take their share of Shivaratri presents in cash or kind or both as the case may be. Hayrath Kharch On Shivaratri day, the head of the family offers pocket money to children and other younger members in the family, including the new brides, sons-in-law and the newly wed daughters. Called hayrath kharch, it is also sent to nearest relations, including their newborns and newly married children. Spirit Of Shivaratri Though Kashmiri Pandits have now migrated en-masse, at the point of gun out of their homes and hearths in Kashmir, the spirit of Shivaratri continues to be still observed, celebrated and contemplated upon in many foreign lands today. This occasion keeps alive the very essence of Shiva and the eternal values He embodies, i.e. mutual love, togetherness, open mindedness, inclusiveness and respect for one and all. No wonder, each year Shivaratri becomes the time for new beginnings ~ when old wounds are forgotten and new relationships fostered! May the spirit of Shivaratri awaken the spirit of Shiva in each and every one of us!

A journalist by profession, a scholar by temperament and a writer by choice, Gopinath Raina was inclined to the study of religion from his very young age. It was Swami Vivekananda’s dynamic exposition of Hindu thought that fired his imagination while he was still at school, and by the time he entered college, he had been drawn to the writings of Gandhi, Aurobindo, Narayana Guru, Radhakrishnan and Bertrand Russel. After retiring from Indian Information Service (I.I.S.) in 1983 where he distinguished himself as an editor, correspondent, commentator and administrator in All India Radio, he edited, AICC Journal, Varnika, (Jan.'84-Dec.'90), Koshur Samachar (March'91-Oct '95, Sanatana Sandesh,(1997-2005) and KASHEER (2003-2004), He has been writing profusely on various aspects of Hindu thought. He enjoys writing, particularly on saints and sages, not only of Kashmir, but of the other parts of India as well. Presently he lives in Miami, and spends his time writing personal memoirs.

Sabarimala

Sabarimala
Sabarimala is a Hindu pilgrimage centre located at the Periyar Tiger Reserve in the Western Ghat mountain ranges of Pathanamthitta District, Perunad grama panchayat in Kerala. It is one of the largest annual pilgrimages in the world, with an estimated over 100 million devotees visiting every year. Ayyappan's temple is situated amidst 18 hills. The temple is situated on a hilltop at an altitude of 1260 m (4,133 ft) above mean sea level, and is surrounded by mountains and dense forests. The dense forest, (Periyar Tiger Reserve), around the temple is known as poongavanam. Temples exist in each of the hills surrounding Sabarimala. While functional and intact temples exist at many places in the surrounding areas like Nilakkal Kalaketty, and Karimala remnants of old temples survive to this day on remaining hills.
The shrine at Sabarimala is an ancient temple of Ayyappan also known as sasta and Dharmasasta. In the 12th century, Manikandan, a prince of Pandalam dynasty, meditated at Sabarimala temple and became one with the divine. Manikandan was an avatar of Ayyappan.
Sabarimala is linked to pilgrimage predominantly undertaken by Hindus. Sabarimala pilgrims can be identified easily, as they wear black or blue dress. They do not shave until the completion of the pilgrimage, and smear Vibhuti or sandal paste on their forehead.
In 1991, the Kerala High Court restricted entry of women above the age of 10 and below the age of 50 from offering worship at Sabarimala Shrine during any period of the year. Presently, the Supreme Court of India has taken a petition to review the judgment of High Court and allow entry of women. The Supreme Court hearings are in progress and no decision has yet been made.
The temple is open for worship only during the days of Mandalapooja (approximately 15 November to 26 December), Makaravilakku or "Makara Sankranti" (14 January) and Maha Vishuva Sankranti (14 April), and the first five days of each Malayalam month.The devotees are expected to follow a Vratham (41-day austerity period) prior to the pilgrimage.This begins with wearing of a special Mala (a chain made of Rudraksha or Tulasi beads is commonly used, though still other types of chains are available.). During the 41 days of Vratham, the devotee who has taken the vow, is required to strictly follow the rules that include follow only a lacto-vegetarianism diet, follow celibacy, follow teetotalism, not use any profanity, allow the hair and nails to grow without cutting. They must try their maximum to help others, and see everything around them as lord Ayyappa. They are expected to bath twice in a day and visit the local temples regularly and only wear plain black or blue colored traditional clothing. Saffron colored dresses are worn by Sannyasi who have renunciated material life. But, many devotees still continue to wear saffron colored clothes which becomes a part of Vedic culture which connects the whole Hindus worldwide.[citation needed]
Hundreds of devotees still follow the traditional mountainous forest path (approximately 61 km) from Erumely,12.8 km from Vandiperiyar and 8 km from Chalakayam, believed to be taken by Ayyappa himself. The Erumely route starts from Erumely to Aludha river, then crosses the Aludha mountain to reach Karivilam thodu. Now comes the sacred Karimala crossing, from there to Cheriyanavattom, Valliyanavattom and finally Pamba River. Then they have to climb Neelimala and enter into the Ganesha-Bettam, Shreerama-Betta Padam. Then comes the Aranmula kottaram, which is one of the stops of holy journey 'Thiruvabharana Ghoshayatra' (the grand procession of the divine jewelery).
These days people use vehicles to reach the Pamba River by an alternate route. From Pamba, all the pilgrims begin trekking the steep mountain path of Neeli Mala till Sabari Mala. This route is now highly developed, with emergency shops and medical aid by the sides, and supporting aid is provided to the pilgrims while climbing the steep slope, which used to be a mere trail through dense jungle. The elderly pilgrims are lifted by men on bamboo chairs till the top, on being paid.
Women in large numbers did not visit the temple, due to the hardship in reaching the temple. Women pilgrims above the age of 50 would visit the temple to conduct the first rice-feeding ceremony of their children (Chottoonu) in the temple premises. On May 13, 1940, even the Maharani of Tranvancore had visited the temple.
In 1991, Justice K Paripoornan and Justice K Balanarayana Marar of the Kerala High Court in their ruling against the Travancore Devaswom Board, banned entry of women between ages above the age of 10 and below the age of 50 from offering worship at Sabarimala Shrine during any period of the year stating that such restriction was in accordance with the usage prevalent from time immemorial. In addition, the Justices of the High court directed the Government of Kerala, to use police force to ensure the order to ban entry of women to the temple was implemented and complied with .
.The worship of Sastha forms part of the very ancient history of south India. At Sabarimala, the deity is worshiped as Ayyappan and as Dharmasasta. The shrine of Sabarimala is an ancient temple. The prince of Pandalam dynasty, an avatar of Ayyappan, meditated at Sabarimala temple and became one with the divine. The place where the prince meditated is the Manimandapam.
There are many Sastha temples in South India and across the globe.[9] As per the temple history, the Sastha temple at Sabarimala is one of the five Sastha temples founded by Lord Parasurama. The other Sastha temples in this group of five includes the Ayyappan Temples:at Kulathupuzha, where the Sastha appears as a Balaka or child; at Aryankavu where the Lord appears as a Brahmachari or young man; at Achankovil Shastha Temple, where the lord leads the Grihastha Ashrama life here and depicted along with his two wives - Purna and Pushkala; at Sabarimala, where the lord is depicted in the Vanaprastha or form of renunciation; at Poonambala Medu the Lord appears as a yogi and where the "makaravilaku' is lit.
There also exists a theory based on account from the writings of the Chinese traveller Huan Tsang, who visited India in the 6th century. In his writing, he mentions about a temple of Avalokiteśvara, a Bodhisattva, located near Mount Potalaka. But scholars say Avalokiteśvara is an epiphany of Hari-Hara (Vishnu and Siva)[13] Based on this, there is a theory that the Sabarimala was originally temple of Avalokiteśvara. As per the Buddhist origin theory, in the Sanskrit thesaurus Amarakosha, the word Sastha or Dharmasasta is one of the eighteen synonyms of Gautama Buddha.[citation needed] The Mudra shown by the idol of Ayyappa and the yogic position also may have a connection to Vitarka mudra and Lotus position in which Buddha is depicted generously.[citation needed] The chants of “Sharanam”recited by the worshippers to Sabarimala were synonymous to the Saranathrayam of Buddhist disciples and not used in any other Hindu temples. But these are just assumptions and there are no other historical or archeological or geographical evidences to support this theory.
After the installation of the temple, it was mostly unreachable for about three centuries. In the 12th century, a Tamil king called Rajasekhara Pandiyan (a prince of Pandalam Dynasty), called Manikandan, rediscovered the original path to reach Sabarimala. He had many followers with him, including the descendants of the Vavar (a Muslim warrior whom Manikandan defeated) family. This Prince is considered an Avatar of Ayyappa, and is believed to have led a pack of Tigers to his Palace with Vavar and then later disappeared to the Sabarimala temple. The temple was then renovated.
In 1821 AD, the kingdom of Pandalam was added to Travancore. 48 major temples including the Sabarimala temple were also added to Travancore. The idol was erected in 1910,
.The Sannidhanam (main temple) is build on a plateau about 40 feet high.
The temple was rebuilt after a fire in 1950, and the earlier stone image of the deity was replaced by an panchaloha idol, about 1 and half feet, made from an alloy from five metals.
The temple consists of the a sanctum sanctorum with a copper-plated roof and four golden finials at the top, two mandapams, the belikalpura which houses the altar. In 1969, the flag staff (dhwajam) was installed.
The shrine of Kannimoola ganapathi prathishta is south-west to The Sreekovil of the Sannidhanam. Devotees offer part of the broken coconut (Neythenga) to Sri Ganapathi in the fireplace (Azhi). Ganapathi homam is the main offering.
The shrine of the Lord of snakes, Nagarajav is placed adjacent to the sreekovil. Pilgrims after the Darsan of Lord Ayyappa and Kannimoola Ganapathi,make their darsan and give offerings to Nagarajav.
The Pathinettu thripadikal or the 18 sacred steps is the main stairway to the temple. As per the custom followed, no pilgrim without "Irumudikkettu" can ascend the 18 sacred steps. In 1985, the 18 steps were covered by panchaloka and later covered with gold. The stairway in northern gate is open for those who do not carry an "Irumudikkettu".
The temples of Lord Ayyappan's trusted lieutenants Vavur Swami and Kadutha Swami are positioned as his guards at the foot of the holy 18 sacred steps.
The temple of Malikappurath Amma, whose importance is almost in par with Lord Ayyappa, is located few yards from Sannidhanam. It is believed that the Lord Ayyapan had specific instructions that he wanted Malikappurath Amma, on his left side. Prior to the fire disaster, there was only a Peeda Prathishta (holy seat) at Malikappuram. The idol of Malikappurath Amma was installed by Brahmasree Kandararu Maheswararu Thanthri. The Devi at Malikappuram holds a Sankh, Chakram and Varada Abhya Mudra. Now the idol is covered with a gold Golaka. The temple also was reconstructed in the last decade and now the conical roof and sopanam is covered with gold
Manimandapam, located nearby is where Ayyappa meditated, before he became one with the divine.
Administration and legal duties is managed by Travancore Devasvom Board, an affiliate authority of Government of Kerala. Thazhamon Madom is the traditional priest family who has powers over the religious matters to be decided in Sabarimala Temple. Tantri is the highest priest and is the head of the temple. It's the duty of the family to decide on religious matters relating to Sabarimala shrine. Tantris are to be present in all ceremonial Poojas and functions to be held at temple premises and functions associated with temple. The installation of idols of the temple was also done by Tantri of this family.
Currently Brahmasri Kantararu Maheshwararu Tantri is the head priest of Sabarimala. The other famous family members include Kandararu Rajeevararu, Kandararu Mohanararu and Kandararu Mahesh Mohaner.The prasadam at Sabarimala temple is Aravana payasam and Appam. These are prepared by using rice, ghee, sugar, jaggery etc. The rice needed to prepare the prasadam at Sabarimala temple is supplied by Chettikulangara Devi Temple, the second largest temple under the Travancore Devaswom Board situated at Mavelikkara. The Chief Commissioner, Travancore Devaswom Board said that the board has appointed Central Food Technological Research Institute, Mysore as a consultant for providing technical guidance to ensure the quality of Aravana, Appam and other prasadam preparations at Sabarimala temple .
Harivarasanam is recited before closing the temple door every night. The Harivarasanam prayer, which is sung at Sabarimala is a Urakkupattu. It is composed by Sri Kambangudi Kulathur Srinivasa Iyer in Sanskrit. It is said that Srinivasa Iyer used to recite the composition after the Athazha Puja, standing in front of the shrine of Ayyappa in the main temple. With the efforts of Swami Vimochanananda, it came to be accepted as the lullaby by the Tantri and Melshanthi. The composition has 352 letters, 108 words in 32 lines in 8 stanzas
Though there have been many versions of this song sung by many renowned vocalists, the temple plays the rendition by K. J. Yesudas, composed by the renowned music director G. Devarajan, which is in the Madhyamavathi raga of Indian Carnatic music.
This significant ritual involves pouring sacred ghee brought by pilgrims in their Pallikettu or Irumudi (A two compartment bag made of handwoven cotton cloth used to carry the offerings for Sabarimala Temple carried on their heads) on the idol of Lord Ayyappa. It symbolically means the merging of Jeevatma with the Paramatma.While a red colored irumudi is used by a pilgrim on his first journey as a Kanni Ayyappan to Sabarimala, others use navy blue till third year and thereafter saffron colored irumudi.Lord Rama and his brother Lakshmana met Sabari, a tribal devotee, at Sabarimala. Sabari offered the Lord fruits after tasting them. But the Lord accepted them gladly and whole-heartedly. The Lord then saw a divine person doing tapasya. He asked Sabari who it was. Sabari said it was Shasta. Rama walked towards him. Shasta stood up and welcomed the Prince of Ayodhya. The anniversary of this incident is celebrated on Makara Vilakku day. It is believed that on Makara Vilakku day, Lord Dharmashasta stops his tapasya to bless his devotees. The day is also called Makara Shankranthi
The history behind the worshiping methods
The customs of the pilgrims to Sabarimala are based on five worshipping methods; those of Shaivites, Shaktists and Vaishnavites. At first, there were three sections of devotees – the devotees of Shakti who used meat to worship their deity[citation needed], the devotees of Vishnu who followed strict penance and continence, and the devotees of Shiva who partly followed these two methods. Another name of Ayyappa is Sastha. All these can be seen merged into the beliefs of pilgrims to Sabarimala. The chain the pilgrims wear comes from the Rudraksha chain of the Shaivites. The strict fasting, penance and continence is taken out of the beliefs of the Vaishnavites. The offering of tobacco to Kaduthaswamy can be considered to be taken from the Shaktists.
The waste disposed by the visitors to Sabarimala is threatening the wildlife of the region and the evergreen forests.[26] Efforts are on to make Sabarimala free from pollution and waste. High Court of Kerala has directed that 'Irumudikkettu' should not contain plastic materials.[Projects like "Punyam Poonkavanam" has been initiated under the aegis of governmental departments. Hindu organisations such as Art of Living and Mata Amritanandamayi Math has been regularly contributing to keep Sabarimala and its precincts clean While cleaning Pamba river Sabarimala Sanndidhaanam clean is their primary objective,[33] the broader vision is to spread the message of greenness and cleanliness beyond Sabarimala.
Some of the salient aspects of "Punyam Poonkavanam" project includes:
Not using soap and oil while bathing in the holy Pamba River. No throwing any material, including clothes in the holy river.
To prepare irumudikkettu without using any plastic and using only bio-degradable materials.
To devote at least one hour in cleanliness activities at Sabarimala Sannidhaanam, River Pamba and surroundings as part of the pilgrimag

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 WRITTEN BY ..................VIPUL KOUL 

EDITED  BY   ...................ASHOK KOUL

SOURCES ./......................WIKIPEDIA

Kaw Punim

Kaw Punim is a unique festival, which is dedicated to crows and is celebrated in Jammu and Kashmir. The festival is held during the full moon day of the Hindu month of Maagh (January-February)
On this particular day, two sticks are tied in the shape of a cross. On the open ends of the cross, grass is woven in the shape of a flat spoon. Yellow colored cooked rice, meant for the crows, is served on the spoon shaped structure. Children sing a song while making the offering to the crow. This festival is celebrated to indicate the love of people towards the birds.

Kaw Punim: The full moon of the lunar month Magha is also known as Purnima of the crow. Two sticks are tied in the shape of a cross and on the open ends of the cross grass is woven to make a long handled flat spoon. Again after some pooja, yellow rice is served on this spoon to be offered to the crow. The children sing a melodious song while making the offering to the crow. The song loosely translated reads thus:
O clever crow;
O, the lover of khichri, crow;
Come to our new house along with your spouse;
Be seated on the threshold of our roof –
And partake of the salty pudding.
This festival is indicative of the love that the Kashmiris have had for the birds and the care they took of them. It may be worth mentioning that every Kashmiri household will scatter some cooked rice on a wooden shelf kept outside the house everyday before serving food to any member of the house. This shelf kept near the top right hand corner of the window is called Kaw paet - a shelf for the crow. Likewise every person keeps apart a little rice from his or her plate to be fed to the dogs. This is called Hoonya myet - the roll of rice for the dog. This shows the compassionate nature of the Kashmiris for the animal world. No doubt the Gita defines a Pandit as one who treats equally a well read Brahmin, a cow, an elephant, a dog and a downcast chandala who devours dog-flesh.

Tarsar Lake

Tarsar Lake
The Tarsar Lake or Tar Sar is an almond-shaped, oligotrophic alpine lake situated in the Kashmir Valley, specifically in Aru, Anantnag district, Jammu and Kashmir, India.
The Tarsar Lake is dominated by the peaks of the Kolahoi mountain some 20 km to the east. The lake is separated by a mountain with a minimum peak elevation of 4,000 metres (13,000 ft) from another lake of the same nature known as Marsar Lake, which is in the vicinity of Dachigam National Park. Together these two lakes are referred to as the twin sisters. The 16th-century Kashmiri ruler Yusuf Shah Chak mentioned the twin lakes in his poetry, writing to his beloved:
When I remember the two tresses of the comely beloved,
Tears begin to flow from my eyes like streams from Tarsar and Marsar.
The Tarsar Lake is drained by an outlet stream which falls into the Lidder River at Lidderwat, 15 km to the east. Being the nearest seasonal settlement, Lidderwat is located on the trek route to the lake from Aru, Pahalgam. The Marsar Lake on the other hand drains out and flows in the opposite direction of the Tarsar Lake.
During the winter, the Tarsar Lake freezes and is covered by heavy snow; it has floating ice even in the summer. The basin of the lake is surrounded by a sheet of alpine flowers. The geum, blue poppy, potentilla and gentian are relatively common. Hedysarum flowers are found in late spring throughout the area around the lake.

During summer there are breeding colonies of migratory birds, including bar-headed geese, lammergeyers, high-flying choughs, Himalayan golden eagles, cinnamon sparrows and black bulbuls. The basin of Tarsar and the adjoining Dachigam National Park constitute one of the most important habitats of the Kashmir stag (hangul), ibex, musk deer, snow leopard, Himalayan brown bear and in the higher reaches, the golden marmot.
The Tarsar Lake is accessible only during the summer; during the winter, the treks are closed because of the heavy snowfall. It can be reached from Srinagar, via a 102 km motorable road which leads through Anantnag and Pahalgam to the Aru trekking camp. The alpine meadow of Lidderwat lies at the halfway point of the two-day trek to the lake. An alternate route leads through Ganderbal and a trekking starting point at Sumbal in the Sind Valley. Due to the steepness of the trek, it is preferable to approach the lake by the Aru-Lidderwat trek and return via the Sumbal-Sind Valley trek.[5] Another accessible route to Tarsar and Marsar is a Place called Nage-Baren via Tral .
The Tarsar Lake or Tar Sar is an almond-shaped, oligotrophic alpine lake situated in the Kashmir Valley, specifically in Aru, Anantnag district, Jammu and Kashmir,
Surface elevation: 3,795 m
Area: 200 ha
Length: 2 km
Width: 800 m
Outflow location: Lidder River

POSTED BY ; VIPUL KOUL

EDITED BY  :ASHOK KOUL 

SOURCES   :.................

Wikipedia

Kavi Pradeep

Kavi Pradeep (6 February 1915 – 11 December 1998), born Ramchandra Narayanji Dwivedi, was an Indian poet and songwriter who is best known for his patriotic song Aye Mere Watan Ke Logo written as a tribute to the soldiers who had died defending the country during the Sino-Indian War.
His first recognition came for his patriotic lyrics for the film Bandhan (1940). His status as a nationalistic writer got immortalised for writing a daringly patriotic song Door Hato Ae Duniya Walo (Move Away O Outsiders) in India's first golden jubilee hit Kismet (1943) because he was forced to go underground to avoid arrest immediately after the film's release that invited the ire of British government.
In a career span of five decades, Kavi Pradeep wrote about 1,700 songs and nationalistic poems including the lyrics for some 72 films, including hits like Chal Chal Re Naujawan in film Bandhan (1940) and Aao Bachcho Tumhein Dikhayen and De Dee Hame Azaadi Bina Khadag Bina Dhaal in film Jagriti (1954) In 1958, HMV, released an album of 13 songs with his lyrics. He was made the Rashtrakavi, (Poet Laureate), and came to be known as, Kavi Pradeep
In 1997, he was honoured by India's highest award in Cinema, the Dada Saheb Phalke Award for Lifetime Achievement.
 Kavi Pradeep was born Ramchandra Narayanji Dwivedi in 1915 into a middle-class Audichya Brahmin family in the small central Indian town of Badnagar near Ujjain. Since his early student days and later while pursuing graduation from University of Lucknow, he had a passion for writing and rendering Hindi poetry. He hypnotised the audience at kavi sammelans (poet's gatherings) with his inimitable style. It was during this time he adopted the pen name ("nom de plume") Pradeep. After graduating from Lucknow University in 1939, he decided to join a teacher's course to become a teacher.

Pradeep was invited to a Kavi Sammelan in Bombay where he was offered his first film Kangan (1939), by Himanshu Rai of Bombay Talkies. The film starred Devika Rani and Ashok Kumar. Pradeep shifted to Bombay and wrote four songs for the film, all of which became very popular, and sung three of the songs himself.
He next film was Bandhan (1940) produced by S. Mukherjee and directed by Gyan Mukherjee. The music director was Saraswati Devi. This time he wrote all the songs which became huge hits. The most notable is "Chal Chal Re Naujawan", which made waves since the Indian freedom movement was at a crucial juncture.
He worked on five more movies for Bombay Talkies which included Punar Milan (1940), Jhoola (1941), Naya Sansar (1941), Anjan (1943) and Kismet (1943). Kismet is known for its patriotic song "Aaj Himalay Ki Choti Se Phir Hum Ne Lalkara Hai, Door Hato Ae Duniyawalon Hindustan Hamara Hai" (From the peak of the Himalayas we are warning other countries to stay away from India as it is our country).
Mashaal (1950) was his next film and it features the extremely popular song "Upar Gagan Vishal" sung by Manna Dey. Kavi Pradeep was at his creative zenith when he wrote for the films Nastik (1954) and Jagriti (1954). He even lent his voice for the evergreen song "Dekh Tere Sansar Ki Halat Kya Ho Gayi Bhagwaan, Kitna Badal Gaya Insaan" (Look at your world, O God. How the man has changed!) from the film Nastik (1954). Jagriti is considered to be among his best work for one movie as it includes hit songs such as Aao Bachcho Tumhein Dikhayen Jhanki Hindustan Ki, Is Mitti Se Tilak Karo, Yeh Dharti Hai Balidan Ki" (sung by himself), "Hum Laye Hain Toofan Se Kishti Nikal Ke, Is Desh Ko Rakhna Mere Bachcho Sambhal Ke" and "De Dee Humein Azadi Bina Khadag Bina Dhal, Sabarmati Ke Sant Tu Ne Kar Diya Kamaal".
His songs were so popular that fans would see his movies repeatedly just to listen to his soulful songs. Kavi Pradeep always believed in writing songs in simple words portraying a meaning fitting into the situation. The popularity of his songs was due to his down-to-earth lyrics and simple language that was well understood by everyone.
 By the 1960s, the popularity of his songs was on the wane and film producers who were looking for western music and fast numbers avoided him. However he managed to prove his detractors wrong with films Talaaq, a Rajendra Kumar starrer and Paigam (1959) starring Dilip Kumar, Raaj Kumar and Vyjayantimala. With "Insaan Ka Insaan Se Ho Bhaichara, Yahi Paigam Hamara" being a highlight. S. Mukerji's Sambandh (1969) starring Pradeep Kumar was a movie that ran on the popularity of songs such as "Chal Akela Chal Akela, Tera Mela Peechhe Chhoota Raahi Chal Akela", "Jo Diya Tha Tum Ne Ek Din, Mujhe Phir Wohi Pyar De Do, Ek Karz Mangta Hoon, Bachpan Udhar De Do" were written by Kavi Pradeep. He continued to show his brilliance in 1975, when the movie Jai Santoshi Maa was released. For a low-budget movie, it matched the collections of another Block Buster Sholay. For months, theatres screening the movie, held the housefull boards high. Ladies would perform poojas when the immortal song "Main To Aarti Utaroon Re Santoshi Mata Ki" was played in the theatres. He also sang one of the songs "Yahan Wahan" from the film for which he received the award as Best Male Playback Singer from the Bengal Film Journalists' Association in 1975.

The Patriot

Kismet was his groundbreaking effort since it came at the time of the "Quit India" movement. The country was in strife with all national leaders in prison. He cleverly wrote the song "Aj Himalay Ki Choti Se Phir Hum Ne Lalkara Hai". The song was supposed to warn the Axis powers, but the Indian public understood the real meaning of the song. Almost synonymous to the song (phir means again in Hindi), the reel would be rewound and played many times to satisfy public demand. Theatres around the country were resounded with "once more" calls once the song ended. The reel had to be rewound and the song was screened again and again. Kismet made box office history for its time by running for 3½ years in one theatre. Though the song managed to pass through heavy censorship of the time,^[8] the British soon realised the true meaning of his songs and issued a warrant for his arrest. This forced Kavi Pradeep to go underground to avoid arrest.
He continued his patriotic zeal with renewed vigour after independence in movies such as Jagriti with a song considered to be his tribute to Mahatma Gandhi, "De Dee Humein Azadi Bina Khadag Bina Dhal." His songs for children are still played throughout the country on 14th Nov., Children's Day, "Hum laye hain toofan se kishti nikal ke" and "Insaaf ki dagar pe."
During 1962 (Indo-China) war days, he heard about Param Vir Major Shaitan Singh Bhati. He was so touched by his sacrifice and bravery that he penned down the lines "Aye Mere Watan Ke Logo". This song was originally supposed to be sung by Asha Bhosle, due to a misunderstanding between composer C. Ramchandra and Lata Mangeshkar. Kavi Pradeep though, was adamant about having Lata Mangeshkar sing the song, as he felt that hers was the only voice that could do justice to the number. C. Ramchandra was unsure whether Mangeshkar would agree to sing, so Kavi Pradeep began the task of convincing her to hear the song. On hearing the song she was moved so much that she instantly agreed to sing the song on condition that Kavi Pradeep be present at the rehearsals.
Aye Mere Watan Ke Logo (O people of my country) went on to become one of the greatest patriotic songs of the country. It was while Lata Mangeshkar was rendering the song that the Prime Minister of India, Jawaharlal Nehru, was moved to tears. For writing the song Kavi Pradeep was conferred the honour of "Rashtriya Kavi" (National Poet) by the government of India.
The song was famously performed live, by Lata Mangeshkar, in the presence of Prime Minister, Jawaharlal Nehru at the National Stadium, New Delhi, on Republic Day, 26 January 1963, and moved him to tears,^[2] and a copy of the soundtrack spool was also gifted to him on the occasion. Despite many offers, Kavi Pradeep pledged the royalties of the song to 'War Widows Fund' and on 25 August 2005 Bombay High Court ordered Saregama (HMV) to pay ₹ 1 million as arrears in royalty to the Fund.
In 1987, Pradeep told a journalist, "Nobody can make you patriotic. It's in your blood. It is how you bring it out to serve the country that makes you different.

Popular Songs

• "Aye Mere Watan Ke Logo"
• "Sooni padi re sitar" (Kangan)
• "Nacho nacho pyare man ke mor" (Punar Milan)
• "Chal chal re nau javan" (Bandhan)
• "Chane jor garam babu" (Bandhan)
• "Piyoo piyoo bol pran papihe" (Bandhan)
• "Ruk na sako to jao" (Bandhan)
• "Kheencho kaman kheencho" (Anjan)
• "Jhoole ke sang jhoolo" (Jhoola)
• "Na jane kidhar aaj meri nao chali re" (Jhoola)
• "Main to dilli se dulhan laya re" (Jhoola)
• "Aaj mausam salona salona re" (Jhoola)
• "Mere bichhade hue saathi" (Jhoola)
• "Door hato ae duniya walo Hindustan hamara hai (Kismet)
• "Dheere dheere aa re badal" (Kismet)
• "Papiha re, mere piyase" (Kismet)
• "Ghar ghar mein diwalee hai mere ghar me andhera" (Kismet)
• "Ab tere siva kaun mera" (Kismet)
• "Har har mahadeo allah o akbar" (Chal Chal Re Naujawan)
• "Ram bharose meri gadi" (Girl"s School)
• "Oopar gagan vishal" (Mashal)
• "Kiski kismet mein kya likha" (Mashal)
• "Aaj ashia ke logon ka kafila chala" (Kafila)
• "Koyal bole ku" (Baap Beti)
• "Kahna bahjaye bansari" (Nastik)
• "Jai jai ram raghurai" (Nastik)
• "Kitna badal gaya insan" (Nastik)
• "Gagan jhan jhana raja" (Nastik)
• "Tere phoolon se bhi pyar" (Nastik)
• "Sabarmati ke sant" (Jagriti)
• "Hum laye hain toofan se" (Jagriti)
• "Chalo chalen maa" (Jagriti)
• "Aao bachacho tumhen dikhayen" (Jagriti)
• "Tere dwar khada bhagwan" (Waman Avtar)
• "Kahe ko bisara hari naam, maati ke putle" (Chakradhari)
• "Doosara o ka dukhada door karne wale" (Dashera)
• "Tunnaak tunnak bole re mera ektara" (Ram Navmi)
• "Pinjare ke panchhi re" (Naag Mani)
• "Koi lakh kare chaturai" (Chandi Pooja)
• "Nai umar ki kaliyo tumko dekh rehiduniya sari" (Talaq)
• "Bigul baj raha azadi ka" (Talaq)
• "Mere jeevan mein kiran ban ke" (Talaq)
• "Mukhada dekhle praani" (Do Bahen)
• "Insan ka insan se ho bhaichara" (Paigham)
• "O ameeron ke parameshwar" (Paigham)
• "Jawani mein akelapan" (Paigham)
• "O dildaar bolo ek baar" (School Master)
• "Aaj suno hum get vida ka garaha" (School Master)
• "Sanvariya re apni meera ko bhool na jana" (Aanchal)
• "Na jane kahan tum the" (Zindgi aur khwab)
• "Aaj ke is insaan ko ye kya hogaya" (Amar Rahe Yeh Pyar)
• "Sooraj re jalte rahena" (Harishchandra Taramati)
• "Toot gayee hai mala" (Harishchandra Taramati)
• "Janma bhoomi maa" (Netaji Subhash Chandra Bose)
• "Suno suno desh ke Hindu – musalman" (Netaji Subhash Chandra Bose)
• "Bharat ke liye bhagwan ka ek vardaan hai ganga" (Har har gange)
• "Chal akela chal akela" (Sambandh)
• "Tum ko to karodon saal hue" (Sambandh)
• "Jo diya tha tumne ek din" (Sambandh)
• "Andhere mein jo beithe ho (Sambandh)
• "Ye khushi leke main kya karoon" (Har har gange)
• "Sukh dukh dono rehte" (Kabhi dhoop kabhi chhaon)
• "Hay re sanjog kya ghadi dikhlai" (Kabhi dhoop kabhi chhaon)
• "Chal musafir chal" (Kabhi dhoop kabhi chhaon)
• "Jai Jai narayan narayan hari hari" (Haridarshan)
• "Pabhu ke bharose han ko gaadi" (Haridarshan)
• "Maarnewala hai bhagwan bachanewala hai bhagwan" (Haridarshan)
• "Main is paar" (Agni rekha)
• "Main to aarti utaron" (Jai Santoshi Maa)
• "Yahan wahan jahan tahan" (Jai Santoshi Maa)
• "Mat ro mat ro aj" (Jai Santoshi Maa)
• "Karati hoon tumhara vrat main" (Jai Santoshi Maa)
• "Madad karo santoshi mata" (Jai Santoshi Maa)
• "He maruti saari ram katha ka" (Bajrangbali)
• "Banjaa hoon main" (Aankha ka tara)