Bhajan Lyrics World

[Gigí Ruais]

Cunningestpolitician the world has ever produced was MKG. He cared pretty much about his legacy and totally disregarded the country. He side lined many ptriotic people like Bose and Arobindo, who had to flee the British, while Gandhi enjoyed patronage of British.

Raghupati Raghava Rajaaram

Here comes Ravan again disguised as Alla.

Destruction/loot/rape conversions turned Ganga red.

Raghupati Raghava Rajaaram, Truth is buried and Alla reigns.

Raghupati Raghava Rajaaram, this is kalyug and people forgot Ram and worship Alla-van.

what spiritual background gandhi was having. being a vysya they used to sell and buy goods. by virtue of profession, they are at highter strata. they know nothing about sanaathan. what gandhi did was a big bullshit. not excusable .

He was not on prez or any office bearer but blamed by few innocents.

His force was his followers the largest only he had.

British was taking care of him apprehending paralysing of governance.

Shame on a people like him for changing the hindu mantra.. I mean who the h*ll you are to do it.. Just to make a secular state ..? changing the a whole devotional mantra.. Glad people are educated enough to find it out.

Log Kahate Hain ki yah Gandhi ne likha hai per asali Mein nahi hi ise Kisi Aur Ne likha tha Hindu ke ke bhajan ko Allah Ishwar Chhod Diya yah galat hai likha Kisi Aur ne aur Naam Kisi Aur Ka Laga Gandhi ka Sach pata chal Gaya Hai Pahle aapka dhanyvad

Most stupidest of sadist gandhi, because of his political ideology he betrayed the Hindus.

That is one of the reasons why Hindus in India is suffering and demanding for religious rights..

Hindus are being discriminated in India by minorities.

Hell with what that half-naked-fakir had in mind, what he did is the biggest blunder. Even after twisting that popular spiritual song, he was not able to stop Hyderabad turning predator. Nor did he manage to stop King of Junagadh to express his thoughts of getting merged with Pakistan. He could not stop bloody Jinna to form the bloody hell Islamic country.

Had there been social media like what we have today, he would have been killed much earlier than when godse killed him.

This was done in good faith, in an attempt to draw Muslims into a civilisational unity. It may have succeeded with small sections and to that extent, may have contributed to unity. The formation of Pakistan showed its limitations.

Moreover, his effort unilaterally disarmed a whole nation that swore by the indic beliefs of samsāra, karma & moksa, which is the foundation of Hinduness, and paved the way for the horrors of partition.

Arathi is sung and performed at the end of each darshan in Prasanthi Nilayam, while a camphor flame is waved in a slow circle, facing Bhagawan. Arathi is a Hindu ritual in which a flame is offered to the Lord at the conclusion of the prayer or devotional singing (bhajan) session. It is offered to Sri Sathya Sai Baba in many Sai Centres around the world. Sri Sathya Sai Baba explains the significance of this ritual:

The waving of the camphor flame at the end of the bhajan sessions is to remind you that your sensual cravings must be burnt away without leaving any trace behind, and you must offer yourself to God for being merged with His Glory.

External show is not important. Devotion (bhakti) does not consist of having a photo for worship and giving it Arathi every day or shouting Baba, Baba. True devotion means that there is a transformation in your behaviour. God is within you, around you, and in you. He is omnipresent. Recognising this truth, you must arrive at the result that you and God are one.

Camphor when lit, burns itself out completely without leaving any residue. It represents our inherent tendencies (vaasanas). When lit by the fire of knowledge which illumines the Lord (Truth), our vaasanas thereafter burn themselves out completely, not leaving a trace of ego which creates in us a sense of individuality that keeps us separate from the Lord.

The waving of the flame is accompanied by a prayer which may be sung in Sanskrit or in the language of the country. Prior to the lighting of the flame, it is the practice in some Sai Centers to share the following message, as a reminder of the significance of this ritual and of the very reason for human birth:

O Graceful and Charming as a full moon! O Auspicious One! O Lord Sai! Thou art the Indweller and life-force of all Beings; the wish-fulfilling divine creeper to those who have surrendered to Thee; and kinsman, protector, and friend in times of distress and calamities. Victory to Lord of Universe.

O Splendorous One! O Lord of Lords -- Lord Sai! Thy Form is Pranava. We pray Thee to accept the auspicious waving of flame of light (signifying the removal of ignorance). Victory to Thee, O Lord of Universe, Resident of Mandhar mountain - Lord Giridhari.

All praise to You, Lord of the Worlds

Swami Sathya Sai, our Lord

You protect devotees who cling to You

Show Your mercy to us who sing to You

Knowing You are God in human form

All praise to You, Lord of the Worlds

With captivating grace and loveliness

You do everything to bring us happiness

You're aware of all through infinite consciousness

You are master of every living thing

For devotees You're wish-fulfilling

Helping us when we are in distress

All praise to You, Lord of the Worlds

You are the Word of God, pure and bright

The embodiment of all true and right

Sathya Sai, fill our hearts with pure delight

Do accept our prayer and heed us

From darkness we can't bear please lead us

With Your might You make our burdens light

All praise to You, Lord of the Worlds

Sai with the sacred form of Om

Universal radiance Divine

Please accept this offering of mine

The flame of love that burns within my heart

Meaning we can never be apart

You and I are ever One

The Lord of the Universe is here.

The term bhajan is also commonly used to refer a group event, with one or more lead singers, accompanied with music, and sometimes dancing.[2] Normally, bhajans are accompanied by percussion instruments such as tabla, dholak or a tambourine. Handheld small cymbals (kartals) are also commonly used to maintain the beat. A bhajan may be sung in a temple, in a home, under a tree in the open, near a river bank or a place of historic significance.[3]

Having no prescribed form, or set rules, bhajans are normally lyrical and based on melodic ragas.[4] It belongs to a genre of music and arts that developed during the Bhakti movement.[1] It is found in the various traditions of Hinduism as well as Jainism. Within Hinduism, bhajans are particularly prevalent in Vaishnavism.[1]

Bhajans have been widely composed anonymously and shared as a musical and arts tradition. Genres such as Nirguni, Gorakhanathi, Vallabhapanthi, Ashtachhap, Madhura-bhakti and the traditional South Indian form Sampradya Bhajan each have their own repertoire and methods of singing.[5]

The Sanskrit word bhajan or bhajana is derived from the root bhaj, which means "divide, share, partake, participate, to belong to".[6][7][8] The word also connotes "attachment, devotion to, fondness for, homage, faith or love, worship, piety to something as a spiritual, religious principle or means of salvation".[9]

In Hinduism, Bhajan and its Bhakti term Kirtan, have roots in the ancient metric and musical traditions of the Vedic era, particularly the Samaveda. The Samaveda Samhita is not meant to be read as a text, but sung as it is like a musical score sheet that must be heard.[10]

Other late Vedic texts mention the two scholars Shilalin (IAST: Śilālin) and Krishashva (IAST: Kṛśaśva), credited to be pioneers in the studies of ancient drama, singing and dance.[11][12] The art schools of Shilalin and Krishashva may have been associated with the performance of Vedic rituals, which involved story telling with embedded ethical values.[11] The Vedic traditions integrated rituals with performance arts, such as a dramatic play, where not only praises to gods were recited or sung, but the dialogues were part of a dramatic representation and discussion of spiritual themes.[13][14]

The Vedas and Upanishads celebrate Nada-Brahman, where certain sounds are considered elemental, triggering emotional feelings without necessarily having a literal meaning, and this is deemed a sacred, liminal experience of the primeval ultimate reality and supreme truth.[16][17][18] This supreme truth is considered as full of bliss and rasa (emotional taste) in the Hindu thought, and melodic sound is considered a part of human spiritual experience.[16] Devotional music genres such as Bhajan are part of a tradition that emerged from these roots.[16]

However, bhajans rose to prominence as a way of expressing fervent devotion to the divine, breaking down barriers of caste and society, during the Bhakti and Sant movements of medieval India (about the 6th to the 17th centuries).

By writing verses in a variety of regional languages, saints and poets like Kabir, Mirabai, Tulsidas, and Surdas played a crucial part in popularizing bhajans and making them understandable to a larger audience. Their Bhajan lyrics emphasized the universality of divine love while praising the intimate connection between the believer and the deity.

A Bhajan in Hindu traditions is an informal, loosely structured devotional song with music in a regional language.[19] They are found all over India and Nepal, but are particularly popular among the Vaishnav traditions such as those driven by devotion to avatars of Vishnu such as Krishna, Rama, Vitthal and Narayana (often with their consorts).[1][19] In Southern India, Bhajanais follow a tradition (Sampradaya) called the Dakshina Bharatha Sampradaya Bhajanai. This involves a tradition that has been followed for the last several centuries and includes Songs/Krithis/Lyrics from great composers all over India encompassing many Indian languages.[20]

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