The Battle of Life

Sharad Poornima (reposted)

Sharad Poornima

          Hkkjr esa euk;s tkus okys fofHkUu rht&R;¨gkj gesa  ÁÑfr d¢ lehi ys tkrs gSa k ,d gS cká ÁÑfr ftles fd dhV ls ysdj isM+ i©/ksa  ;g lkjk czãk.M fufgr gS r¨ nwljh rjQ euq“; dh vkarfjd ÁÑfr ftlesa eu d¢ lkFk mld¢ nl bfUn;¨a dk lekos‘k gS k foKku dgrk gS fd pUæek i`Fkoh dh pkj¨a v¨j ?kweus okyk mi&Xkzg gS t¨ lwjt dh j¨‘kuh ls pedrk gS k pUæek d¢ vkd“kZ.k ls  i`Fkoh ij Tokj&HkkVk dh ?kVuk gS r¨ eu¨oSKktfud¨a dk dguk gS fd euq“; d¢ efLr“d ij Hkh paæek dk vlj ik;k x;k k vkt ‘kjn iwÆ.kek d¨ paæek i`Fkoh d¢ lcls utnhd g¨rk gS ftlls bldh ‘khry fdj.k¨a dh ve`r o“kkZ ge lc ij g¨xh k

--------------------iq“.kkfe p©“k/kh% lokZ% l¨e¨ HkwRok jlkRed% kk xhrk15]13kk

Jhen~Hkxon~xhrk esa Jh Ñ“.k dgrs gSa %& eSa gh jlLo:i vFkkZr ve`re; paæek g¨dj lEiw.kZ v¨“kf/k;¨a d¨ vFkkZr ouLifr;¨a d¨ iq“V djrk gw¡ k

Ápfyr ekU;rk d¢ vuqlkj nw/k esa vUu d¨ idkdj ¼[khj½ mls ckgj j[k fn;k tkrk gS ftlesa paæ fdj.k¨a dh ve`r cw¡nsa cjlrh gS v©j fQj mls Álkn :i esa Xkzg.k fd;k tkrk gS k

  vkt dk fnu dà Ápfyr dkj.k¨a ls fof‘k“V gS k vkt ‘kjn iwÆ.kek dh jkr d¨ o`Unkou esa Jh Ñ“.k us x¨fidkv¨a d¢ lkFk egk jkl jpk;k tgk¡ gj ,d x¨fi d¢ lkFk Jh Ñ“.k us u`R; fd;k k ;g egk jkl dh fnO; vuqHkwfr ls vfHkHkwr x¨fi;k¡ HkfDr jl esa RkYyhu g¨ xà k 

lurdqekj lafgrk d¢ vuqlkj ;g ßd¨ tkx`frß dk iwue gS tgk¡ dgkuh d¢ vuqlkj ‘kjn iwÆ.kek d¢ jkr d¨ tkkxus okys O;fDr y{eh th dk Ñik ik= g¨rk gS k ‘kjn _rq esa gh ek¡ ljLorh dh iwtk g¨rh gS blfy, mudk ,d Ápfyr uke gS ‘kkjnk ftldk vFkZ gS ‘kqHkz ‘khryrk v©j ‘kq) var%dj.k d¨ Ánku djus okyh k ogha mudk nwljk uke ßlkjnkß Hkh gS ftldk rkRi;Z gS Kku dk lkj Ánku djus okyh k ‘kjn iwÆ.kek esa ek¡ ljLorh dh Ásj.kk ls yfyr dykv¨a] u`R;] dfork] laxhr] y¨d ukVd dk eapu  txg&txg ij fd;k tkrk gS k

                   paæek d¨ l©an;Z dk Árhd ekuk x;k k dfo us viuh dYiuk esa pk¡n d¨ lHkh jl¨a ls  t¨M+k] dHkh pk¡n ls rqyuk] fojg esa tyuk] r¨ y¨jh esa lqykuk k paæek d¢ lHkh :i eUke¨gd yxs tSls tSls Ñ“.k Ik{k ls ‘kqDy i{k dh ;k=k djrk gqvk iwÆ.kek esa vius ‘k¨M“kh :i d¨ ÁkIr g¨rk gS k paæek d¢ l¨yg dykv¨a dk czãk.Mh; egRo d¨ Ákphu Hkkjrh; ‘kkL=¨a esa tSls fd yfyr¨i[;kue] ra=jktra=] nf{k.kkewÆr lafgrk] of‘k“V lafgrk] deyk foykle v©j HkSjo ;eye esa bl Ádkj fn;k x;k%

1 ve`rk 2- ekunk 3-iw“kk 4- rqf“V 5- iqf“V 6- vfr 7-/k`fr 8- lflfpfu 9-pafædk 10- daVk 11- T;¨Rluk 12- Jh 13- Áhfr 14- vaxnk 15- iw.kkZ 16- iw.kkZe`rk

bu l¨yg dykv¨a dk lekos‘k gekjs Hkhrj rhu ‘kjhj¨a ] LFkwy] L{kwe ,oa dkj.k esa Hkh g¨rk gS k ve`rdyk ]‘k¨“kM~lh dyk gS t¨ d¢oy fnO; vorkj¨a esa g¨rh gS tSls fd Hkxoku Jh Ñ“.k] vkfn xq# ‘kadjkpk;Z k                  

vkfn xq# ‘kadjkpk;Z us ‘l©Un;Zygjh’ esa txnEck ‘kfDr ek¡ d¢ fnO; l©an;Z dk vuqie o.kZu esa mud¢ ‘k¨“kMlh :i dk n‘kZu djok;sa k

‘kjTT;¨RLuk‘kqHkzka ‘kf‘k ;qrtVktwVeqdqVka  oj=kl=k.kLQfVd?kqfVdkiqLrddjke k 15 k------------

-------------foi;kZLkU;klknqHk;Ñ rla/kkuef;r% lqvysiLQwÆr% ifj.kefr jkdkfgedj% k 46 k

igys ‘y¨d ¼15½ esa ‘kadjkpk;Z th us nsoh ek¡ d¢ eq[k dh rqyuk ‘khry ,oa ‘kqHkz ‘kjn d¢ iwÆ.kek ls djrs gq, os vkxs dgrs gSa fd ek¡ d¢ eqdqV ij  vfr ‘k¨Hkk;keku v/kkZdkj paæ fojkteku gS v©j ek¡ vius dj dey¨a ls vHk; v©j oj Ánku djrh gqà v©j vU; n¨ gkFk¨a esa ti ekyk ,oa iqLrd d¨ /kkj.k fd, gq, gSa k ;g ea= ljLorh ek¡ d¨ leÆir gS v©j bld¢ ikB ls okd flf) ÁkIr g¨rh gS k nwljs ¼46½ ‘y¨d esa Hkh ek¡ d¢ yykV d¨ v/kkZdkj paæ dh miek esa mUg¨aus dgk fd -gs ek¡ ,slk yxrk gS eku¨ rqEgkjs yykV dk pkn¡ v©j eLrd ij fojkteku v/kkZdkj paæ n¨u¨ feydj gh ‘kjn dh iwÆ.kek g¨ ftles ls ve`r cjlrk gS k

                   ek¡ f=iqjk lanjh }kjk vius ‘k¨“kM‘k dykv¨a dk ÁLQqfjr djus ij lk/kd dh psruk tkXkzr] LoIu v©j lq“kqfIr dh voLFkkv¨a d¨ ikj dj rqjh; voLFkk esa LFkkfir g¨ tkrh gS] ftls ge lekf/k dgrs gSa k ‘k¨“kM‘k dyk ls vfHkHkwr iw.kkZorkj Jh Ñ“.k us ftl vuqHko d¨ x¨fiv¨a d¨ egkjkl d¢ le; djk;k k dgkuh vkrh gS fd fdlh rkaf=d us vkfn xq# ‘kadjkpk;Z ij ekju dk Á;¨x fd;k fTklls os vR;ar chekj iM+ x, k rc mUg¨aus vk| ‘kfDr ek¡ f=iqj lqanjh d¢ ‘k¨“kM‘k dyk ls ifjiw.kZ fnO; l©aUn;Z dk foLr`r o.kZu l©an;Z ygjh d¢ :i esa fd;k v©j ek¡ d¢ vk‘khokZn ls iw.kZr% LoLFk g¨ x, k

                   ;g ‘kjn iwÆ.kek d¢ fnu lPps eu ls dh xà ek¡ dh vkjk/kuk ¼ y{eh] ljLorh] ek¡ f=iqj lqanjh½ ls gekjh psruk vy©fdd g¨xh k ftl Ádkj dqaHk d¢ le; ugkus dk egRo gS mlh Ádkj ‘kjn iwÆ.kek d¢ fnu paæ fdj.k¨a d¢ v©“k/kh; ÁHkko dk egRo gS k ifjokj] fe=¨a d¢ lkFk ‘kjn iwÆ.kek dh fdj.k¨a esa j[kk [khj [kk,] xjck u`R; djsa r¨ ml le; vius psruk d¨ txkus d¢ fy, ek¡ d¢ fdlh Hkh :i esa vkjk/kuk Hkh djsa rkfd y{eh ftldk rkRi;Z gS ‘kqHk] vkid¢ ?kV esa fuokl djsa k ,d tkx`r O;fDr ls gh uo lekt dk iqu%fuekZ.k g¨xk tgk¡ lq[k] ‘kkafr ,oa le`f) ;FkkFkZ esa LFkkfir g¨ ld¢xk k

 

Relevance of Garba, Dandiya Raas, Jagrata

Navaratri, the Hindu festival as per meaning signifies nine nights which are dedicated to the worship of Divine Mother or Shakti. It is celebrated twice an year, once in Spring season which is called Chaitra Navaratri, is also known as Ram Navaratri. The second one falls in September-October and is called Aswin Navaratri. Its festivities are filled with pomp and fanfare of Garba, Raas Dandiya and Jagrata. This Ashwin or Shardiya Navaratri culminates in Dusshera, with the joyous celebrations of the victory of good over evil, Ram killing Ravan.

            As perfume mingles in the air, so does joy knows no bound. The rich cultural heritage of our country stands a testimony to the fact, when Garba and Dandiya, a popular folk dance of Gujarat, resonate their presence across the length and breadth of India. These dance forms are performed as an offering of worship to appease Divine Mother for her blessings. Garba and Dandiya Raas are supposed to belong to Kutch and Saurashtra (Southern Gujarat).

The word Garba is derived from the word ‘Womb’. ‘Garbha Deep’ meaning a lamp inside the sanctum sanctorum of a temple. In the villages of Gujarat, a small lamp is placed in a perforated earthen pot which is placed in the center and brightly dressed ladies move around it singing and dancing. Garba songs are mostly in praise of the Creatrix (the feminine aspect of creator), Mother goddess Amba describing her power, form, beauty and invoking her divine blessings. Hence, this dance form of Garba is a regular feature during navaratri puja.

            The concept of Garba on a deeper level is related to microcosm and macrocosm. The earthen pot with holes, through which a flickering light shines, symbolizes the human body with the inner light of God. While the Universe representing the golden womb (Hiranyagarbha) with the light and energy of sun, the supreme reality shining through, symbolizes the macrocosm. Moving around in a circle in a Garba indicates the relationship of the microcosm with the macrocosm, the never ending cycle of creation of the supreme reality. It is believed that Lord Krishna popularized the Raas dance, while Usha the grand daughter-in-law of Lord Krishna gets the credit for popularizing the Lasya Nritya which came to be known as Garba.

It is a popular belief that Raas nritya was performed by Lord Krishna with Gopikas in Vrindavan on the night of Sharad Poornima. The main feature of Raas is dancing in a circle by men and women, to the accompaniment of musical instruments and keeping time either by clapping or beating of two sticks. The Dandia variety of the Raas nritya is very energetic form widely popular amongst the youth and occupies a very prominent place in the Navaratri festivities. While Garba is performed before aarti as devotional performances in the honour of the Goddess, dandiya is performed after, as a part of merriment. Also known as ‘Stick dance’ as performers use a pair of colorfully decorated sticks a props, the circular movements of Dandiya Raas are slightly complex than that of Garba.

 The Dandiya also has significance as it is nicknamed ‘The Sword Dance’. The sticks of the dance represent the sword of Durga. This dance portrays a mock-fight between the Goddess and Mahishasura. The women wear traditional dresses such as colorful embroidered choli, ghagra and bandhani dupattas dazzling with mirror work and heavy jewellery and men wear special turbans and kedias.

Another special feature during the Navaratri is Jagrata. Jagran is derived from the Sanskrit word ‘Jaagar’ meaning awake or a state of alertness. This refers to the period of wakefulness at night. The practice of Bhagwati Jagran or Jagrata by the devotees is observed all through the night amidst chanting of prayers, reciting shloks and singing traditional songs. The Divine Mother is invoked by singing aloud devotional songs and is invited to grace the gathering with her presence.

In Raipur the Navaratri festival is being celebrated with revelry. The idols of Durga in her myraid forms of Kamakshi, Mahalakshmi, Mahishasura Mardini, Parvati, have been placed at various places with due respect and devotion. The celebrations are marked with an increased number of Garba and Dandia raas organized on a grand scale by various committees sponsored by the leading newspapers and media. To name a few are the ones organized in Satti Bazaar, Gras Memorial Ground, Samata Colony, Sunder Nagar, Gujarati Bhavan, Patidar Bhavan which have received a huge response by the young and elderly alike.

While the whole city is vibrant with the worship of Shakti, the Creatrix energy of the Universe, few questions raise before us at the same time. Nowadays crime and atrocities against women are on the rampant, the elderly are neglected in their old age, and youth suicide cases are a cause of deep concern. Time immemorial woman has been the saga of tears and has borne injustice in silence. Gandhiji’s clarion call made the society accept the untouchables and equal rights in the society were given to them. Now in the 21^st century women are not allowed inside the inner sanctum of temple where the Divine Mother is worshipped. Why is it so? Are women considered untouchables? Woman who is created in the image of the Divine Mother, who will decide her right to enter the temple sanctorum?

Likewise when the Divine Mother is envisaged in every relation of a Mother, Sister, Wife, Friend, Colleague, Partner only then will all these celebrations prove their worth. In the words of Mahatma Gandhi -It’s only when the women can walk fearlessly the streets at midnight will we have attained true freedom!

Lalita Dwadashi 
above article was published in Hitavada 4.10.11