Bengali Association Durga Antop Hill

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Bengali Association Durga Antop Hill, originally uploaded by firoze shakir photographerno1.

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Bengali Association Durga Antop Hill

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Bengali Association Durga Antop Hill, originally uploaded by firoze shakir photographerno1.

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I was planning to move out of Dadar Beach as I was not satisfied shooting the Durga Visarjan in pitch darkness , the light on the beach came from the Artis ..

As I started moving out I saw the truck bringing in the Bengali Durga , on inquiry I was informed that they were from the Bengali Association of Antop Hill.. I told this person I was a shooting for the Internet..

It was here while shooting this Durga that I faced the ire of a gentleman who was absolutely rude and did not like me shooting pictures , I have shot so many Bengali pandals and this man educated , Bengali not drunk really shocked me no end..Maybe it was my attire or maybe it was his bad hair day , but I never expected such a behavior,.. Durga belongs to everyone and I as barefeet Muslim blogger brings her message of Peace Hope and Harmony ..as I shoot her with a divine passion and spiritual intensity as a photographer so she can be shared with all who pass by my blogs on Flickr Facebook Twitter WordPress Blogspot and other sites that I post to including Live Journal and Vox.

I shot this man too.. and I am sure when he sees his picture he will realize that being polite courteous is also the most important ingredient of Ma Durgas hospitality.

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The Durga Immersers and Mumbai Police

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The Durga Immersers and Mumbai Police, originally uploaded by firoze shakir photographerno1.

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These are young kids from the locality , expert swimmers , mostly from the koli community , who for a small fees take the Durga murtis into the waters for immersion..
For the larger Durgas you have fishing boats that ply her into the deep for immersion..

What was very impressive was the quick footed efficient Municipal sweepers who were removing the floral tributes collecting them in large bins..these guys worked in complete darkness as the Ddr beach is not lit up as the Mahim beach..

The Mahim beach sees the smaller Durgas for immersion so I did not go there..
The Shivaji Park Police their seniors led from the front keeping the spirited crowds including drunks under complete control..

But I must confess here on the Dadar beach there was hardly any noise pollution.. such was the strictness of the law and order of Mumbai Police.

Because of the dark conditions I was totally at loss , my flash was unable to do justice to night photography.

On the beach the Marathi kulfi sellers were having a great demand for their kulfis..

On the whole Dadar Beach on Durga Visarjan day was a peaceful affair..

PSI Jadhav the tallest police officer from Shivaji Park Police Station , was really impressive with his constables , taking control , I spoke to him and he knew me as he had met me at earlier processions too..

The cops are as human like you and me their contribution to the communal harmony of Mumbai is remarkable , my photography without including them would be incomplete..I show you our boys in khaki at their very best..we owe them a salute be it any event back to back.

Frankly not a single officer Mumbai Police has read my blog , nor does the Mumbai Police know that I have a large collection of pictures portraying them in the best light while on Duty.

The Mumbai Police is exemplary in ther service to Society , giving respect to all faith , religion without any bias .The Mumbai Police is verily beyond caste color or creed..

And if you have a giant of a man CP D Shivanandhan who has instilled and inspired his force .. No1 in India..

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98000 Photo Blogs at Flickr

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98000 Photo Blogs at Flickr, originally uploaded by firoze shakir photographerno1.

98,034 photo blogs
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I complete 98000 Photo Blogs at Flickr .

Thanks To All Of You .

Firoze Shakir
PhotographerNo1

I am learning photoshopping tricks from my whiz son in law Assad Dadan.

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Guru and Chela

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Guru and Chela, originally uploaded by firoze shakir photographerno1.

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Barefeet Blogger of Mumbai

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Barefeet Blogger of Mumbai, originally uploaded by firoze shakir photographerno1.

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The Source Of Ramlila

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The Source Of Ramlila, originally uploaded by firoze shakir photographerno1.

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Recited by them…

en.wikipedia.org/wiki/Ramlila

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Ramlila (Hindi: रामलीला) (literally ‘Rama’s lila or play’) is a dramatic folk re-enactment of the life of Lord Ram, ending up in ten day battle between Lord Ram and Ravan, as described in the Hindu religious epic, the Ramayana.[1] A tradition that originates from the Indian subcontinent, the play is staged annually often over ten or more successive nights, during the auspicious period of ‘Sharad Navratras’, which marks the commencement of the Autumn festive period, starting with the Dussehra festival. Usually the performances are timed to culminate on the festival of Vijayadashami day, that commemorates the victory of Lord Ram over demon king Ravana, when the actors are taken out in a procession through the city, leading up to a mela ground or town square, where the enactment of the final battle takes place, before giant effigies of Ravana, his brother Kumbhakaran and son Meghanath are set fire, and coronation or abhisheka of Rama at Ayodhya takes place, marking the culmination of festivities and restoration of the divine order.[2]

Rama is the 7th incarnation of Vishnu and central figure of the Ramayana. The Ramayana is based on the life, times and values of Lord Rama. Lord Rama is called the Maryada Purushottam or the ‘The best among the dignified’. The story of Lord Rama and his comrades is so popular in India that it has actually amalgamated the psyche of the Indian mainstream irrespective of their religion. The very story of Ramayana injects ethics to the Indian mainstream.

Most Ramlilas in North India are based on the 16th century Avadhi version of Ramayana, Ramacharitamanas, written by Gosvami Tulsidas entirely in verse, thus used as dialogues in most traditional versions, where open-air productions are staged by local Ramlila committees, ‘Samitis’, and funded entirely by the local population, the audience.[3] It is close to the similar form of folk theatre, Rasa lila, which depicts the life of Krishna, popular in Uttar Pradesh, especially Braja regions of Mathura, Vrindavan, and amongst followers of Gaudiya Vaishnavism and Vaishnavism in Manipur, with some similarity with Pandavlila of Garhwal, based on life of Pandavas of Mahabharat and Yakshagana of Karnataka, based on various epic and puranas.[4]

Ramlila has received considerable global attention, especially due to its diverse representation throughout the globe, especially amongst the Indian diaspora community, and regions where Hinduism has spread over the centuries, like Africa and several South East Asian countries. UNESCO proclaimed the tradition of Ramlila a Masterpiece of the Oral and Intangible Heritage of Humanity in 2005.[5] Subsequently, Govt. of India and IGNCA produced a two hour documentary, titled "Ramlila – The traditional performance of Ramayana" for UNESCO, on ‘Ramnagar Ramlila’, and Ramlila traditions of Avadh, Braj and Madhubani, and that of Ayodhya, which assimilates elements of all three.[6] Another unique Ramlila, is being staged since 1972, at Bakshi Ka Talab, about 20 km from Lucknow, where lead characters like Rama, Lakshman and Hanuman are played by Muslim youths, a clear departure in a region known for communal flare-ups; this four-day Ram Lila starts on the day of Dusshera day, and has also been adapted into a Radio play, ‘Us Gaon ki Ram Lila’, by Lucknow All India Radio, which won the Communal Harmony Award in 2000.[7]

Historically it is believed that first Ramlila shows were staged by Megha Bhagat, one of the disciples of Tulsidas, the author of Ramacharitamanas in about 1625 AD, though there are some evidence of its existence in some form before the creation of this version as well. Some scholars believe its first appearance somewhere between 1200 and 1500 AD. Later during in the time of Mughal emperor Akbar, according to some, Akbar is said to have watched a performance. Krishna Das Kaviraj mentions in his 16th century hagiography of saint Chaitanya Mahaprabhu (1486–1533), Chaitanya Charitamrita, that once he got carried away while performing the character of Hanuman at a play in Puri, thus proving the existence of Ramayana plays, before the Ramcharitamanas appeared.[4] Though it would safe to conclude that its implosion into the Hindu heartland, happened only after Tulsidas created his version in people’s language of the time, the Avadhi, unlike the original written by Valmiki, in Sanskrit, the language only spoken by Brahmins by then, which excluded much of masses from experiencing the inspirational saga, which is essentially the victory of good over evil.[8]
[edit] Styles of Ramlila

Today, several regions have developed their distinctive form of Ramlila, Uttar Pradesh itself has numerous variants of presentation styles, most prominent among them is that of Ramnagar, Varanasi, staged over multiple venue, the pantomime style is visible in jhankis or tableaux pageants as seem in Ramlila of Varanasi, where colourful Jhankis and pageants depicting scenes from the life of Lord Rama are taken out through the city.[9] According to a 2008 UNESCO report, the most representative Ramlilas are those of Ayodhya, Ramnagar and Varanasi, Vrindavan, Almora, Satna and Madhubani.[5]

Next is the operatic style incorporates elements of folk theatre elements generously, while the traditional style remains, where the couplets of Ramacharitmanas not only act as dialogues, but also as chorus as well, and lastly there is the Ramlila staged by professional troupes called "mandalis".[10] Many urban Ramilias now have dialogues written in Khadi Boli or in local dialects, but the treatment remains melodramatic as always to achieve maximum impact amidst an audience that knows the story by heart, but watches the enactment nevertheless for religious fervour and also for its spectacle value, making Ramlila an important event in the religious as well as social calendar of not only in small town and villages but also many big cities. Just other folk theatre form of India, like Jatra of Bengal, topic themes are often interwoven in the script to had relevance and sometimes humour is used to offer a critic or commentary over current happenings.

A unique staging of Ramlila, takes place at Chitrakoot, over five days every year during the last week of February, beginning from the Maha Shivratri day, here the episode of Bharat-Milap is of prime importance, and is watched by eager devotees.[11] The Ram Barat of Agra is another interesting tradition connected with Ramlila, where in during the three festivities, a marriage procession of Rama is taken through various localities of the city.

Delhi holds many prominent Ramlilas across the city, including the oldest one on the Ramlila Grounds, outside the historic Red Fort, it was started in times of Mughal emperor Bahadur Shah Zafar,[12] and in 2004, for the first time, Ramlila celebrations organised by Luv-Kush Ramlila Committee were telecast to over 100 countries.[13]
[edit] Ramlila at Ramnagar, Varanasi

The tradition of staging the Ramlila at Ramnagar, Varanasi, which lies across the Ganges river from the Hindu pilgrimage city of Varanasi, was started in ca 1830 by Maharaja Udit Narayan Singh, Kashi Naresh.[14][15] It rose in popularity during the reign of his successor Maharaj Isvari Prasad Singh, and received continued patronage from the subsequent Kings of the Royal House of Benares to create a participatory environmental theatre (Site-specific theatre) on a grand scale, where attendance ranges from few thousands to 100,000 for others.[16] The Ramlila is a cycle of plays which recounts the epic story of Lord Rama, as told in Ramcharitmanas, the version of the Ramayana penned by Tulsidas. The plays sponsored by the Maharaja, are performed in Ramnagar every evening for 31 days.[15]

Though several local legends exist regarding the beginning of this Ramlila, including one of which suggests that it was first staged at a near by village, Chota Mirzapur as the one at Varanasi was disrupted due to the floods in the Ganges, from where it evolved to the present Ramlila, which is by far the most traditional rendition of the Ramayana, and has been a subject of study by scholars from all over the world for many decades now.[17]

The Ramnagar Ramlila is held over 31 days instead of usual 10, and is known for its lavish sets, dialogues and visual spectacle. Here permanent structures have been built and several temporary structure are also added, which serve as sets, to represent locations like Ashok Vatika, Janakpuri, Panchavati, Lanka etc., during the performance. Hence the entire city turn into a giant open-air set, and audience moves along with the performers with every episode, to the next locale. Preparations begin, weeks before its commencement, even the audition process is traditionally attended to by the Maharaja, where Svarupas, literally divine embodiment, the various characters of the Ramayana, are chosen from amongst local actors. Important roles are often inherited by families, for example, the role of Ravana was held by same family from 1835 to 1990, and roles of Hanuman, Jatayu, and Janaka traditionally belong to one Vyasa family.[18] When the Dussehra festivities are inaugurated with a colourful pageant Kashi Naresh rides an elephant at the head of the procession.[15] Then, resplendent in silk and brocade, he inaugurates the month long folk theatre of Ramlila at Ramnagar.[15] During the period, hundreds of sadhus called ‘Ramayanis’ descend into the town to watch and recite the Ramcharitmanas text. Many a audience carry a copy of the Ramacharit Manas, simply called Manas, and follow stanza after stanza, after the characters delivering their dialogue.[19][20]

During the course of the performance, there is a double transformation of the space within the city, as it first transforms from a city to theatre and then to mythic geography, as the scale of the performance is gradually increased to mythic proportions, coming down only in the end, when Rama finally returns back home, this is when the Raja himself becomes part of the theatre thereby incorporating local element into the story itself. In the end, as the swarups, actors depart, they take off their garlands and offer it to Royal family members and give darshan to audience, after the performance one last time.[21] At the end of each episode, lila, an aarti is performed, chants of ‘Har Har Mahadev’ or ‘Bolo! Raja Ramchandra ki Jai!’ resound in the air, as the audience join in. Thereafter, a jhanki, literally a peep or glimpse, tableaux of frozen iconic moments from the ‘Manas’, is presented, which not only distill and crystallize the message of the story for the audience, but is also appreciated for its spectacular effect.[21]

On the last day the festivities reach a crescendo as Rama vanquishes the demon king Ravana.[15] Over a million pilgrims arrive annually for the vast processions and performances organized by Kashi Naresh.[22]

Traditionally organized in a makeshift open-air theatre at night, it is usually staged by amateur actors drawn from the same social grouping as the audience. There is often a singer (occasionally a priest) in the sidelines who recites relevant verses from the Ramayana during scene-changes or at moments of dramatic tension. These recitations and the narrative of the play are usually based on Ramacharitamanas, Gosvami Tulsidas’ version of the Ramayana, in the Awadhi language, written in 16th century. The dialog is improvised, and often responsive to audience reactions. Dhol drummers and other musicians participate. The atmosphere is usually festive and free, with the audience whistling and commenting as the story proceeds.

In many rural areas, traditional venues for Ramlila have developed over the centuries, and hundreds of people will often make the trip nightly to attend the play. Surrounding areas temporarily transform into bazars to cater to the audience. Depending on the region, interspersed breaks in the play can become impromptu talent shows for local society, and a de facto competition takes place between neighbouring Ram lilas, each vying to stage a more lavish production. Though the play itself is thematically religious, this social aspect often draws in people from non-Hindu segments of the community as well. Performance costs are usually financed by fundraising in the community, often by self-organized Ramlila Committees.
[edit] Geographic spread

Over the centuries, Ramlila has evolved into a highly venerated art form, and has travelled to far corners of the globe, through Indian diaspora, not as acts of "cultural recovery", rather as fresh expressions of a persistent faith. Today, Ramalila is staged in most countries that with immigrant Hindu populations from the Indian subcontinent, including that from India, Nepal and Pakistan. Outside the Indian subcontinent, this includes Fiji, Mauritius, South Africa, Canada, Guyana, Suriname, Trinidad and Tobago, Great Britain, the United States, and Australia. Some Asian cultures have similar drama traditions based on the Ramayana, for instance the Phra Lak Phra Lam (Lak and Lam are the Laotian names for Lakshman and Ram, respectively) folkplay of Laos and northeastern Thailand.

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Durga Visarjan Dadar Beach 2009

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Durga Visarjan Dadar Beach 2009, originally uploaded by firoze shakir photographerno1.

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After shooting the finale and the burning of the effigy of Ravan , I walked barefeet from Shivaji Park to Dadar Beach to shoot the Durga Visarjan..The beach was pitch dark and shooting this event was next to impossible but I managed to shoot a 1 GB Card and returned home at 9.30 pm.. I was not happy with what I shot..I hate flash , but there was nothing else I could do,and I shoot with a defective Nikon D80..

This too constitutes Hope and Hindutva a message of Peace shot by the barefeet blogger of Mumbai..

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Backstage Ramlila Pictures on Hold..

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Backstage Ramlila Pictures on Hold.., originally uploaded by firoze shakir photographerno1.

I am keeping this lot and another lot of pictures shot backstage today in abeyance here at Flickr in order to post the last segment of Ramlila and the burning of the effigy of Ravan.

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Shia Pandit and Ramlila

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Shia Pandit and Ramlila, originally uploaded by firoze shakir photographerno1.

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Amchi Mumbai and Dasshera

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Amchi Mumbai and Dasshera, originally uploaded by firoze shakir photographerno1.

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I shot the streets at Dadar literally littered with flowers and mango leaves for Dasshera puja.Poor families making garlands to be bought by people to appease the Gods.. requesting the Gods for Peace and Prosperity calm in the city that we all love and fondly call it Amchi Mumbai..A city that has blessed us all in bad times good times and in all seasons.

Mumbai is a cauldron of calm , I have had many offers to shift professionally to Bangalore and Pune , but I just cant think of relocating my made in Mumbai soul..the power of Mumbai has its hold on me far too deeply..I am enslaved to the warmth , the love that I get from this city , this city of loved ones friends and well wishers.

So I shoot this city , despite my ill health, despite all my problems that have enmeshed me badly..I shoot to share, to show you through my camera eye the world that appears to me vividly , ritualistically culturally ..yet it all becomes a single spread weft and warp of godliness depending on how you see it..

Yes Mumbai is a neighborhood , Arti at your end and Azan at my end synchronizing the spirituality of our diverse souls.. so many other religiosity living as bricks in a single wall holding a edifice that is the heritage of our children s children.

I wonder apprehensively had I not taken up photography , what would have been the condition of my inner soul , maybe a vast wasteland that gave birth to blogs ..Prior to this I never wrote anything , but I was a good letter writer no poems nothing..

Photography made me an incorrigible Blogger , barefeet blogger of Mumbai..

About Dasshera

en.wikipedia.org/wiki/Vijayadashami

Vijayadashami (Bengali: বিজয়াদশমী, Kannada: ವಿಜಯದಶಮಿ, Malayalam: വിജയദശമി, Marathi: विजयादशमी, Nepali :विजया दशमी, Tamil: விஜயதசமி, Telugu: విజయదశమి) also known as Dasara (also written Dussehra) Bengali: দশেরা, Kannada: ದಸರ, Malayalam: ദസറ, Marathi: दसरा, Telugu: దసరా) and Dashain (in Nepali), is a festival celebrated in varying forms across Nepal and India. It is celebrated on the tenth day of the bright fortnight (Shukla Paksha) of the Hindu autumn month of Ashvin or Ashwayuja, and is the grand culmination of the 10-day annual Navaratri (Sanskrit: नवरात्रि, ‘nine nights’) festival. It is the largest festival of Nepal, and celebrated by Hindu and non-Hindu Nepalis alike.

Vijaya Dashami also known as Dasara, Dashahara, Navaratri, Durgotdsav… is one of the very important & fascinating festivals of India, which is celebrated in the lunar month of Ashwin (usually in September or October) from the Shukla Paksha Pratipada (the next of the New moon day of Bhadrapada) to the Dashami or the tenth day of Ashwin.

In India harvest season begins at this time and as mother earth is the source of all food the Mother Goddess is invoked to start afresh the new harvest season and to reactivate the vigor and fertility of the soil by doing religious performances and rituals which invoke cosmic forces for the rejuvenation of the soil.

On the day of Dasha-Hara, statues of the Goddess Durga are submerged in the river waters. These statues are made with the clay & the pooja is performed with turmeric and other pooja items, which are powerful disinfectants and are mixed in the river waters. This makes water useful for the farmers & yields better crops.

Chatrapati Shivaji Maharaj, the founder of the Hindawi (Hindu) Swarajya – Maratha Empire used to always worship Lord Shiva & Goddess Durga in the form of goddess Bhawani before any military expedition. Goddess Bhavani had blessed Shivaji Maharaj with her own sword called “Bhavani Talwar” on this blessed day.

Buses, trucks and huge machines in factories are all decorated and as Dasha-Hara is also treated as Vishwakarma Divas – the National Labor Day of India.

Veda Vyasa is considered as the foremost Guru and Vijayadasami is also celebrated as Vyasa puja.

Dasha-Hara is the festival of Victory of Good over Evil.

The history of Dussehra is an ancient one and derives its origin from a number of popular legends found in the scriptures.
[edit] Victory of Prabhu Ramachandra over Ravana

On this day in the Treta Yug, Shri Ram (7th incarnation of Vishnu), killed the great demon Ravan who had abducted Ram’s wife Sita to his kingdom of Lanka. Ram, along, with his brother Lakshman follower Hanuman, and an army of monkeys fought a great battle to rescue his wife Sita. The war against Ravan lasted for ten days.

Rama had performed “Chandi Hom” and invoked the blessings of Durga to kill Ravana. Durga blessed Rama with the secret to kill Ravana. Ravana was defeated in his own kingdom of Lanka by Rama & the vanarsena. Rama with Sita & Laxman returned victorious to his kingdom of Ayodhya on the Ashwin Shukla dashami. This victory of Rama is since then celebrated as “Vijaya Dashami”.

So also prior to the defeat of Ravana, when Rambhakt Shri Hanuman went to Lanka to search Sita, he found her on the day of Ashvin shukla dashami.

During these 10 days of Dasha-Hara, huge idols of Ravana, Kumbhakarna (brother of Ravana) & Meghanad (son of Ravana) are erected and are set on fire by the enthusiastic youth at the sun set.

After Dasha-Hara, the hot weather of the summer ends, especially in North India and as the winter starts, the cold weather becomes breeding ground for many kinds of infections. Hence burning huge Ravana statues filled with the crackers containing phosphorous purifies the atmosphere. At the same time the temples perform Chandi Homa or Durga Homa which also helps in purifying the atmosphere.

Many houses also perform Aditya Homa as a Shanti Yagna and recite Sundara Kanda of Srimad Ramayana for 9 days. All these Yagna Performances are to create powerful agents into the atmosphere surrounding the house so as to keep the household environment clean & healthy.

The purpose of performing these homas is also to kill & sacrifice the 10 bad qualities, which are represented by ten heads of Ravana as follows:

(1) Kama vasana (Lust), (2) Krodha (Anger), (3) Moha (delusoion), (4) Lobha (Greed), (5) Mada (Over Pride), (6) Matsara (Jealousy), (7) Manas (Mind), (8) Buddhi (Intellect), (9) Chitta (will) & (10) Ahankara (Ego).

Some houses perform Yagnas 3 times daily along with sandhya vandana, called as Aahavaneeya Agni, Grahapatya Agni, Dakshina Agni. In addition to this, the Aditya Homa is performed with the Maha Surya Mantras and the Aruna Prapathaka of the Yajurveda. The effect of these mantras is to keep the heart, brain and digestive functions of the body in balance. The imbalances in these occur in the absence of adequate sunlight in the winter months.
[edit] Victory of Durga Mata over Mahishasur

Some of the Aasuras (Demons) were very powerful and ambitious, and continually tried to defeat Gods and capture the Heaven. One such Aasura called Mahishasur, who looked like a buffalo, grew very powerful & created havoc on the earth. Under his leadership the Aasuras even defeated the Devas (Gods), all of whom were powerless including Brahma, Vishnu etc… Finally, when the world was getting crushed under Mahishasura’s tyranny, the Devas came together & contributed their individual energy to form “Shakti” a single mass of incandescent energy to fight & kill Mahishasur.

A very powerful band of lightening dazzled from the mouths of Brahma, Vishnu & Mahesh (Shiva) and a beautiful, magnificent, radiant young virgin with ten hands appeared. All the Gods gave their special weapons to her. This Shakti coalesced in the form of Goddess Durga.

Durga with weapons in her ten hands, riding on Lion, who assisted her in the fight, took on Mahishasur. The battle raged for nine days and nights. Finally on the tenth day of Ashwin shukla paksha, the evil demon Mahishasur was defeated & killed by Durga.

Hence Dasha-Hara is also known as Navaratra or Durgotsava and is a celebration of victory of Goddess Durga. Durga as Consort of Lord Shiva represents two forms of female energy – one mild & protective and the other fierce & destructive.
[edit] Home Coming of Durga Mata

Daksha, the Lord of the Earth, and his wife, Menaka, had a daughter called Sati. Uma, right from her childhood, started worshipping Lord Shiva as her would-be-husband. Lord Shiva, being pleased with the worship of Sati, came to marry her. Daksha was against their marriage but could not prevent it to happen. A little time later, Daksha arranged a `yagna` where everyone except Lord Shiva was invited. Sati, feeling ashamed of her father`s behaviour and shocked by the attitude metted towards her husband, killed herself. There was no end to his anguish when Lord Shiva came to know about this. He lifted the body of Sati on his shoulders and started dancing madly. With the supreme power dancing with wrath, the World was on the verge of destruction.

Then Lord Narayana came forward as a saviour and used his `Chakra` to cut Sati`s body into pieces. Those pieces started falling off from the shoulder of the dancing Shiva into different parts of the World. Shiva was finally pacified when the last piece fell off from his shoulder. Lord Narayana, however, revived Sati to new life. The places where the pieces had fallen are known as the `Shakti Piths` or energy pits. Kalighat in Kolkata, Kamakshya near Guwahati and Vaishnav Devi in Jammu are three of these places.

In her next birth Sati was born as Parvati/ Shaila-Putri(First form of Durga), the daughter of Himalaya. Lord Narayana asked Shiva to forgive Daksha. Ever since peace was restored, Durga, with her children, Kartikeya, Ganesh and her two `sakhis` – Jaya and Vijaya, comes to visit her parents each year during the season of `Sharatkal` or autumn when Durga-Puja is celebrated. Thus the other name of Durga-puja is `Sharodotshob`.
[edit] End of Agnyatwas of Pandavas

In Dwapar Yuga, after Pandavas lost to Kauravas in the game of Dice, they had to proceed to 12 years of “Vanawas” (exile to forest) followed by one year of Agnyatawas. Pandavas spent 12 years in forest and hid their weapons in a hole on a “Shami” tree before entering the Kingdom of Virat to complete the last one year of Agnyatwas. After the completion of that year on Vijayadashmi they took the weapons from the Shami tree, declared their true identity & defeated Kauravas, who had attacked King Virat to steal his cattle wealth.

Since that day the exchange of Shami leaves on Dassera day became symbols of good, will and victory. Hence on Dasha-Hara Shami Tree & the weapons are worshipped.
[edit] Kautsa’s Gurudakshina

Kautsa, the young son of Devdatt, a Brahmin, was living in the city of Paithan. After completing education from Rishi Varatantu, he insisted on his guru accepting Guru Dakshina (present).

But Guru said, “Kautsa, to give ‘dakshina’ in return for learning wisdom is not proper. Graduation of the disciple makes the guru happy, and this is the real Guru Dakshina.”

Kautsa was not satisfied. He still felt it was his duty to give his guru something. Finally the guru said, “Alright, if you insist on giving me dakshina, so give me 140 million gold coins, 10 million for each of the 14 sciences I have taught you.”

Kautsa went to king Raghu. Raghuraja was an ancestor of Lord Rama, famous for his generosity. But just at that time he had emptied all his coffers on the Brahmins, after performing the Vishvajit sacrifice. He asked Kautsa to give him three days’ time. Raghuraja immediately left to get the gold coins from Indra. Indra summoned Kuber, the god of wealth. Indra told Kuber, “Make a rain of gold coins fall on the “Shanu” and “Aapati” trees round Raghuraja’s city of Ayodhya.”

The rain of gold coins began to fall. King Raghu gave all the coins to Kautsa, and Kautsa hastened to offer the coins to Varatantu Rishi. Guru had asked only 140 millions, so he gave the rest back to Kautsa. Kautsa was not interested in money. In those days honor was considered more valuable than wealth. He asked the king to take the remaining gold coins back. But the king refused to take them back as kings do not take back the daan (gift).

Finally Kautsa distributed the gold coins to the people of Ayodhya on the day of Ashwin shukla dashami. In remembrance of this event the custom is kept of looting the leaves of the “Aapati” trees, and people present each other these leaves as “sone(gold).
[edit] Simollanghan – crossing the border – War Season

In ancient times kings used the feast of Dasha-Hara to cross the frontier and fight against their neighboring kingdoms. This border crossing is known as “simollanghan”. Thus Dasha-Hara also marks the beginning of the war season.

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Lord Hanuman

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Lord Hanuman, originally uploaded by firoze shakir photographerno1.

97,737 items / 593,704 views

www.hindunet.org/god/Gods/hanuman/index.htm

Hanuman is a monkey god. He is a noble hero and great devotee of Lord Rama of the Ramayana.

This deity is a provider of courage, hope, knowledge, intellect and devotion. He is pictured as a robust monkey holding a mace (gada) which is a sign of bravery and having a picture of Lord Rama tatooed on his chest which is a sign of his devotion to Lord Rama.

He is also called Mahaveera (the great hero ) or Pavan-suta (son of air) or Bajarangbali.

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Happy Dasshera

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Happy Dasshera, originally uploaded by firoze shakir photographerno1.

97,684 items / 593,625 views

evil too is a blessing
in sartorial disguise
evil the worlds
most flourishing enterprise
every experience bitter hurtful
brings forth wisdom
teaches you to be wise
in a world where
corruption rules
the poor man cries
in a world where truth is
bartered for a wealth of lies
ravan and ram
lie within man
good bad ugly
all at a price
at the feet of
mother
one’s paradise
happy dassheraa
from a barefeet blogger
pictorial harmony
hope and hindutva
with a pinch of spice
it does not cost a penny
to be good and nice
every time you fall
you need to rise
mind matters
not just size

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Ramlila Shivaji Park 2009

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Ramlila Shivaji Park 2009, originally uploaded by firoze shakir photographerno1.

97,578 items / 593,348 views

en.wikipedia.org/wiki/Ramlila

Ramlila (Hindi: रामलीला) (literally ‘Rama’s lila or play’) is a dramatic folk re-enactment of the life of Lord Ram, ending up in ten day battle between Lord Ram and Ravan, as described in the Hindu religious epic, the Ramayana.[1] A tradition that originates from the Indian subcontinent, the play is staged annually often over ten or more successive nights, during the auspicious period of ‘Sharad Navratras’, which marks the commencement of the Autumn festive period, starting with the Dussehra festival. Usually the performances are timed to culminate on the festival of Vijayadashami day, that commemorates the victory of Lord Ram over demon king Ravana, when the actors are taken out in a procession through the city, leading up to a mela ground or town square, where the enactment of the final battle takes place, before giant effigies of Ravana, his brother Kumbhakaran and son Meghanath are set fire, and coronation or abhisheka of Rama at Ayodhya takes place, marking the culmination of festivities and restoration of the divine order.[2]

Rama is the 7th incarnation of Vishnu and central figure of the Ramayana. The Ramayana is based on the life, times and values of Lord Rama. Lord Rama is called the Maryada Purushottam or the ‘The best among the dignified’. The story of Lord Rama and his comrades is so popular in India that it has actually amalgamated the psyche of the Indian mainstream irrespective of their religion. The very story of Ramayana injects ethics to the Indian mainstream.

Most Ramlilas in North India are based on the 16th century Avadhi version of Ramayana, Ramacharitamanas, written by Gosvami Tulsidas entirely in verse, thus used as dialogues in most traditional versions, where open-air productions are staged by local Ramlila committees, ‘Samitis’, and funded entirely by the local population, the audience.[3] It is close to the similar form of folk theatre, Rasa lila, which depicts the life of Krishna, popular in Uttar Pradesh, especially Braja regions of Mathura, Vrindavan, and amongst followers of Gaudiya Vaishnavism and Vaishnavism in Manipur, with some similarity with Pandavlila of Garhwal, based on life of Pandavas of Mahabharat and Yakshagana of Karnataka, based on various epic and puranas.[4]

Ramlila has received considerable global attention, especially due to its diverse representation throughout the globe, especially amongst the Indian diaspora community, and regions where Hinduism has spread over the centuries, like Africa and several South East Asian countries. UNESCO proclaimed the tradition of Ramlila a Masterpiece of the Oral and Intangible Heritage of Humanity in 2005.[5] Subsequently, Govt. of India and IGNCA produced a two hour documentary, titled "Ramlila – The traditional performance of Ramayana" for UNESCO, on ‘Ramnagar Ramlila’, and Ramlila traditions of Avadh, Braj and Madhubani, and that of Ayodhya, which assimilates elements of all three.[6] Another unique Ramlila, is being staged since 1972, at Bakshi Ka Talab, about 20 km from Lucknow, where lead characters like Rama, Lakshman and Hanuman are played by Muslim youths, a clear departure in a region known for communal flare-ups; this four-day Ram Lila starts on the day of Dusshera day, and has also been adapted into a Radio play, ‘Us Gaon ki Ram Lila’, by Lucknow All India Radio, which won the Communal Harmony Award in 2000.[7

Historically it is believed that first Ramlila shows were staged by Megha Bhagat, one of the disciples of Tulsidas, the author of Ramacharitamanas in about 1625 AD, though there are some evidence of its existence in some form before the creation of this version as well. Some scholars believe its first appearance somewhere between 1200 and 1500 AD. Later during in the time of Mughal emperor Akbar, according to some, Akbar is said to have watched a performance. Krishna Das Kaviraj mentions in his 16th century hagiography of saint Chaitanya Mahaprabhu (1486–1533), Chaitanya Charitamrita, that once he got carried away while performing the character of Hanuman at a play in Puri, thus proving the existence of Ramayana plays, before the Ramcharitamanas appeared.[4] Though it would safe to conclude that its implosion into the Hindu heartland, happened only after Tulsidas created his version in people’s language of the time, the Avadhi, unlike the original written by Valmiki, in Sanskrit, the language only spoken by Brahmins by then, which excluded much of masses from experiencing the inspirational saga, which is essentially the victory of good over evil.[8]
[edit] Styles of Ramlila

Today, several regions have developed their distinctive form of Ramlila, Uttar Pradesh itself has numerous variants of presentation styles, most prominent among them is that of Ramnagar, Varanasi, staged over multiple venue, the pantomime style is visible in jhankis or tableaux pageants as seem in Ramlila of Varanasi, where colourful Jhankis and pageants depicting scenes from the life of Lord Rama are taken out through the city.[9] According to a 2008 UNESCO report, the most representative Ramlilas are those of Ayodhya, Ramnagar and Varanasi, Vrindavan, Almora, Satna and Madhubani.[5]
An Ramlila actor the traditional attire of Ravana

Next is the operatic style incorporates elements of folk theatre elements generously, while the traditional style remains, where the couplets of Ramacharitmanas not only act as dialogues, but also as chorus as well, and lastly there is the Ramlila staged by professional troupes called "mandalis".[10] Many urban Ramilias now have dialogues written in Khadi Boli or in local dialects, but the treatment remains melodramatic as always to achieve maximum impact amidst an audience that knows the story by heart, but watches the enactment nevertheless for religious fervour and also for its spectacle value, making Ramlila an important event in the religious as well as social calendar of not only in small town and villages but also many big cities. Just other folk theatre form of India, like Jatra of Bengal, topic themes are often interwoven in the script to had relevance and sometimes humour is used to offer a critic or commentary over current happenings.

A unique staging of Ramlila, takes place at Chitrakoot, over five days every year during the last week of February, beginning from the Maha Shivratri day, here the episode of Bharat-Milap is of prime importance, and is watched by eager devotees.[11] The Ram Barat of Agra is another interesting tradition connected with Ramlila, where in during the three festivities, a marriage procession of Rama is taken through various localities of the city.

Delhi holds many prominent Ramlilas across the city, including the oldest one on the Ramlila Grounds, outside the historic Red Fort, it was started in times of Mughal emperor Bahadur Shah Zafar,[12] and in 2004, for the first time, Ramlila celebrations organised by Luv-Kush Ramlila Committee were telecast to over 100 countries.[13]
[edit] Ramlila at Ramnagar, Varanasi

The tradition of staging the Ramlila at Ramnagar, Varanasi, which lies across the Ganges river from the Hindu pilgrimage city of Varanasi, was started in ca 1830 by Maharaja Udit Narayan Singh, Kashi Naresh.[14][15] It rose in popularity during the reign of his successor Maharaj Isvari Prasad Singh, and received continued patronage from the subsequent Kings of the Royal House of Benares to create a participatory environmental theatre (Site-specific theatre) on a grand scale, where attendance ranges from few thousands to 100,000 for others.[16] The Ramlila is a cycle of plays which recounts the epic story of Lord Rama, as told in Ramcharitmanas, the version of the Ramayana penned by Tulsidas. The plays sponsored by the Maharaja, are performed in Ramnagar every evening for 31 days.[15]

Though several local legends exist regarding the beginning of this Ramlila, including one of which suggests that it was first staged at a near by village, Chota Mirzapur as the one at Varanasi was disrupted due to the floods in the Ganges, from where it evolved to the present Ramlila, which is by far the most traditional rendition of the Ramayana, and has been a subject of study by scholars from all over the world for many decades now.[17]

The Ramnagar Ramlila is held over 31 days instead of usual 10, and is known for its lavish sets, dialogues and visual spectacle. Here permanent structures have been built and several temporary structure are also added, which serve as sets, to represent locations like Ashok Vatika, Janakpuri, Panchavati, Lanka etc., during the performance. Hence the entire city turn into a giant open-air set, and audience moves along with the performers with every episode, to the next locale. Preparations begin, weeks before its commencement, even the audition process is traditionally attended to by the Maharaja, where Svarupas, literally divine embodiment, the various characters of the Ramayana, are chosen from amongst local actors. Important roles are often inherited by families, for example, the role of Ravana was held by same family from 1835 to 1990, and roles of Hanuman, Jatayu, and Janaka traditionally belong to one Vyasa family.[18] When the Dussehra festivities are inaugurated with a colourful pageant Kashi Naresh rides an elephant at the head of the procession.[15] Then, resplendent in silk and brocade, he inaugurates the month long folk theatre of Ramlila at Ramnagar.[15] During the period, hundreds of sadhus called ‘Ramayanis’ descend into the town to watch and recite the Ramcharitmanas text. Many a audience carry a copy of the Ramacharit Manas, simply called Manas, and follow stanza after stanza, after the characters delivering their dialogue.[19][20]

During the course of the performance, there is a double transformation of the space within the city, as it first transforms from a city to theatre and then to mythic geography, as the scale of the performance is gradually increased to mythic proportions, coming down only in the end, when Rama finally returns back home, this is when the Raja himself becomes part of the theatre thereby incorporating local element into the story itself. In the end, as the swarups, actors depart, they take off their garlands and offer it to Royal family members and give darshan to audience, after the performance one last time.[21] At the end of each episode, lila, an aarti is performed, chants of ‘Har Har Mahadev’ or ‘Bolo! Raja Ramchandra ki Jai!’ resound in the air, as the audience join in. Thereafter, a jhanki, literally a peep or glimpse, tableaux of frozen iconic moments from the ‘Manas’, is presented, which not only distill and crystallize the message of the story for the audience, but is also appreciated for its spectacular effect.[21]

On the last day the festivities reach a crescendo as Rama vanquishes the demon king Ravana.[15] Over a million pilgrims arrive annually for the vast processions and performances organized by Kashi Naresh.[22]
[edit] Format
Lead performers of a Ramlila troupe mandali, with the director, called vyasa

Traditionally organized in a makeshift open-air theatre at night, it is usually staged by amateur actors drawn from the same social grouping as the audience. There is often a singer (occasionally a priest) in the sidelines who recites relevant verses from the Ramayana during scene-changes or at moments of dramatic tension. These recitations and the narrative of the play are usually based on Ramacharitamanas, Gosvami Tulsidas’ version of the Ramayana, in the Awadhi language, written in 16th century. The dialog is improvised, and often responsive to audience reactions. Dhol drummers and other musicians participate. The atmosphere is usually festive and free, with the audience whistling and commenting as the story proceeds.

In many rural areas, traditional venues for Ramlila have developed over the centuries, and hundreds of people will often make the trip nightly to attend the play. Surrounding areas temporarily transform into bazars to cater to the audience. Depending on the region, interspersed breaks in the play can become impromptu talent shows for local society, and a de facto competition takes place between neighbouring Ram lilas, each vying to stage a more lavish production. Though the play itself is thematically religious, this social aspect often draws in people from non-Hindu segments of the community as well. Performance costs are usually financed by fundraising in the community, often by self-organized Ramlila Committees.
[edit] Geographic spread

Over the centuries, Ramlila has evolved into a highly venerated art form, and has travelled to far corners of the globe, through Indian diaspora, not as acts of "cultural recovery", rather as fresh expressions of a persistent faith. Today, Ramalila is staged in most countries that with immigrant Hindu populations from the Indian subcontinent, including that from India, Nepal and Pakistan. Outside the Indian subcontinent, this includes Fiji, Mauritius, South Africa, Canada, Guyana, Suriname, Trinidad and Tobago, Great Britain, the United States, and Australia. Some Asian cultures have similar drama traditions based on the Ramayana, for instance the Phra Lak Phra Lam (Lak and Lam are the Laotian names for Lakshman and Ram, respectively) folkplay of Laos and northeastern Thailand.

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Ramlila Hope and Hindutva Message of Peace

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Ramlila Hope and Hindutva Message of Peace, originally uploaded by firoze shakir photographerno1.

Last night after shooting the Bengal Club Durgotsav at Shivaji Park, I cut across barefeet to reach the other end of the park where Ramlila is held by the Adarsh Ramila Committee.

I had shot this last year too, and I am grateful to Mr Sundar I Kannar a commitee member who has been extending me total cooperation and has taken a special liking to my pictorial quest of Hope and Hindutva – a message of Peace.

Last year I had shot the Dasshera Burning of Ravan and was approached by a dear friend who blessed me for posting the pictures of it on the net as he could not make it to the venue due to ill health.. this is the holistic healing power of a photo blog..

It cuts across all religion , caste color or creed , and being human being Indian is more important than just being an adherent of a religion..Hindu is not just a Hindu person ..a Muslim too can be messenger and harbinger of Peace as symbolized by the tenets of Hinduism… For me Hinduism or Islam is a state of mind that leads us to our individual goals of Godliness and universal Peace..

That I am able to share all this over 97600 photo blogs that I have posted here at Flickr since July 2007..is my humble tribute to all those who visit my photo stream..I am indebted to each and everyone of you..

I shot the Ramlila this evening too , much of it backstage , I keep my remaining pictures of the Bengal Club Durgotsav 2009 on hold.. to post this set a long series mind you.

I also wish all my Hindu friends well wishers a very Happy Dasshera.. Good over Evil.,,

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Kali Mata Mandir Shivaji Park

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Kali Mata Mandir Shivaji Park, originally uploaded by firoze shakir photographerno1.

en.wikipedia.org/wiki/Kali

Kali (Sanskrit: काली, Bengali: কালী, both Kālī), also known as Kalika (Bengali: কালিকা, Kālikā), is a Hindu goddess associated with eternal energy. The name Kali means “black”, but has by folk etymology come to mean “force of time (kala)”. Despite her negative connotations, she is today considered the goddess of time and change. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation still has some influence. More complex Tantric beliefs sometimes extend her role so far as to be the “ultimate reality” or Brahman. She is also revered as Bhavatarini (literally “redeemer of the universe”). Comparatively recent devotional movements largely conceive Kali as a benevolent mother goddess.

Kali is represented as the consort of god Shiva, on whose body she is often seen standing. She is associated with many other Hindu goddesses like Durga, Bhadrakali, Sati, Rudrani, Parvati and Chamunda. She is the foremost among the Dasa-Mahavidyas, ten fierce Tantric goddesses.

Kālī is the feminine of kāla “black, dark coloured” (per Panini 4.1.42). In the Mundaka Upanishad Kali is mentioned as one of the seven tongues of Agni, the Rigvedic God of Fire (Mundaka Upanishad 2:4), thus giving rise to Kali’s tongue, seen in images. It appears as the name of a form of Durga in the Mahabharata 4.195, and as the name of an evil female spirit in Harivamsa 11552.

The homonymous kāla, “appointed time”, which depending on context can mean “death”, is distinct from kāla “black”, but became associated with it through folk etymology. The association is seen in a passage from the Mahābhārata, depicting a female figure who carries away the spirits of slain warriors and animals. She is called kālarātri (which Thomas Coburn, a historian of Sanskrit Goddess literature, translates as “night of death”) and also kālī (which, as Coburn notes, can be read here either as a proper name or as a description “the black one”).[2]

Kali’s association with blackness stands in contrast to her consort, Shiva, whose body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) in which he meditates, and with which Kali is also associated, as śmaśāna-kālī.
[edit] Origins

According to David Kinsley, Kali is first mentioned in Hinduism as a distinct goddess, related to war, around 600 CE. Scriptures like Agni Purana and Garuda Purana describe her terrible appearance and associate her with corpses and war. The oldest mention of Kali dates back to Rigvedic age.The ‘Ratri Sookta’ in rigveda actually calls her as Goddess ‘Ratri’ and regards Ratri as the Supreme force in the universe.In the Tantras, she is regarded as the Shakti(Power)of The Great Mahakala(a form of Lord Shiva).Her portrayal on dead bodies in crematorium symbolizes her presence in the hearts of devotees who have killed their Earthly desires andwant Supreme Consciousness in the lap of the Ultimate Mother, Kali. In another form, she is regarded as the destroyer, the Mahakali as Kali Tantra says-”kali kalanat” meaning Kali is the one who finishes. Kalika Purana depicts her as the “Adi Shakti”(Fundamental Power) and “Para Prakriti” or beyond nature.
[edit] In Tantra
Mahakali Yantra

Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva’s wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals.[3] In many sources Kali is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kali’s mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kali vidyas (manifestations of Mahadevi, or “divinity itself”). They declare her to be an essence of her own form (svarupa) of the Mahadevi.[4]

In the Mahanirvana-tantra, Kali is one of the epithets for the primordial sakti, and in one passage Shiva praises her:

At the dissolution of things, it is Kala [Time] Who will devour all, and by reason of this He is called Mahakala [an epithet of Lord Shiva], and since Thou devourest Mahakala Himself, it is Thou who art the Supreme Primordial Kalika. Because Thou devourest Kala, Thou art Kali, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [primordial Kali. Resuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art.[5]

The figure of Kali conveys death, destruction, fear, and the consuming aspects of reality. As such, she is also a “forbidden thing”, or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation.[6] This is clear in the work of the Karpuradi-stotra[7], a short praise to Kali describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)

He, O Mahakali who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. 0 Kali, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Sakti [his female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.[8]

The Karpuradi-stotra clearly indicates that Kali is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, who is said to be her spouse, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation.[9] In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.[10]
[edit] In Bengali tradition

Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva’s consort, Kali is rarely pictured in Hindu mythology and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengali tradition her appearance and habits change little, if at all.[11]

The Tantric approach to Kali is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kali’s teachings, adopting the attitude of a child. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Ramprasad’s work.[12]

Ramprasad comments in many of his other songs that Kali is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:

Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]
Were she not merciless, would she kick the breast of her lord?
Men call you merciful, but there is no trace of mercy in you, Mother.
You have cut off the heads of the children of others, and these you wear as a garland around your neck.
It matters not how much I call you “Mother, Mother.” You hear me, but you will not listen.[13]

To be a child of Kali, Ramprasad asserts, is to be denied of earthly delights and pleasures. Kali is said to not give what is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.[14][15]

A significant portion of Bengali devotional music features Kali as its central theme and is known as Shyama Sangeet. Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyama Sangeet is Pannalal Bhattacharya.

Slayer of Raktabija

In Kali’s most famous myth, Durga and her assistants, Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons, in an attempt to destroy him. They soon find that they have worsened the situation, as for every drop of blood that is spilt from Raktabija, the demon reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates.[16] Durga, in dire need of help, summons Kali to combat the demons. It is also said that Goddess Durga takes the form of Goddess Kali at this time.

The Devi Mahatmyam describes:

Out of the surface of her (Durga’s) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger’s skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.[17]

Kali destroys Raktabija by sucking the blood from his body and putting the many Raktabija duplicates in her gaping mouth. Pleased with her victory, Kali then dances on the field of battle, stepping on the corpses of the slain. Her consort Shiva lies among the dead beneath her feet, a representation of Kali commonly seen in her iconography as Daksinakali.[18]

In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e the slayer of the demons Chanda and Munda.[19] Chamunda is very often identified with Kali and is very much like her in appearance and habit.[20]
[edit] Daksinakali
Bhadrakali (A gentle form of Kali), circa 1675.
Painting; made in India, Himachal Pradesh, Basohli,
now placed in LACMA.

In her most famous pose as Daksinakali, it is said that Kali, becoming drunk on the blood of her victims on the battlefield, dances with destructive frenzy. In her fury she fails to see the body of her husband, Shiva, who lies among the corpses on the battlefield.[21] Ultimately the cries of Shiva attract Kali’s attention, calming her fury. As a sign of her shame at having disrespected her husband in such a fashion, Kali sticks out her tongue. However, some sources state that this interpretation is a later version of the symbolism of the tongue: in tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva, spiritual and godly creatures who served as assassins.[22]

One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in a forest. With fierce companions she terrorizes the surrounding area. One of Shiva’s devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, claiming the territory as her own. Shiva challenges Kali to a dance contest, and defeats her when she is unable to perform the energetic Tandava dance. Although in this case Kali is defeated, and is forced to control her disruptive habits, there are very few other images or other myths depicting her in such a manner.[23]
[edit] Maternal Kali

Another myth depicts the infant Shiva calming Kali. In this similar story, Kali again defeated her enemies on the battlefield and began to dance out of control, drunk on the blood of the slain. To calm her down and to protect the stability of the world, Shiva is sent to the battlefield, as an infant, crying aloud. Seeing the child’s distress, Kali ceases dancing to take care of the helpless infant. She picks him up, kisses his head, and proceeds to breast feed the infant Shiva.[24] This myth depicts Kali in her benevolent, maternal aspect; something that is revered in Hinduism, but not often recognized in the West.

Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also simply be used as an honorific of the Goddess Kali,[25] signifying her greatness by the prefix “Mahā-”. Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.

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Kali Mata Mandir at Bengal Club Shivaji Park

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Kali Mata Mandir at Bengal Club Shivaji Park, originally uploaded by firoze shakir photographerno1.

Last evening I went to Shivaji Park to shoot the oldest Pandal known as the Bengal Club Durogotsav. Before I entered the Pandal I passed the Kali Mata temple , which was totally packed , people head bowed , placing offerings to Kali..
The Pandit gave me a smile as he remembered me from last few years that I have been coming here to capture the Bengali ambiance and love of Durga.

About Kali

www.iloveindia.com/spirituality/goddesses/kali/index.html

Goddess Kali
Kali is one of the many forms of Shakti. Maha Kaali is the fiercest of all goddesses of Hinduism. The word Kali has its roots in the Sanskrit word “Kaal”, which means time. And nothing escapes from time. Goddess Kali is sometimes referred as the goddess of death. But actually Kali brings the death of the ego. Even in the scriptures, she has killed demons but not anyone else. Kali is also not associated with Yama (the Hindu God of Death). Kali is considered a form of mother too. Maa Kali is one of the few Goddesses who are celibate and practice renunciation.

Goddess Kali and Lord Shiva
Goddess Kali and Lord Shiva, both are regarded to inhabit cremation grounds. Devotees go to these places to meditate with the purpose of overcoming the ego. The cremation grounds emphasize the idea that the body is temporary. Kali and Shiva are known to stay in cremation grounds because it is our attachment to the body that gives rise to the ego. Kali and Shiva give the idea of liberation by dissolving the illusion of the ego. The corporeal frame ultimately vanishes but the soul still remains. This is emphasized by the scene in the cremation grounds.

Maa Kali – The Compassionate Goddess
Maha Kaali is the most compassionate of all the forms of goddesses as she provides salvation or liberation to her children. Kali is equivalent to Shiva because both of them are the destroyers of evil fake and unreal. It is considered that with the glimpse of Maa Kali, ego trembles with terror seeing its own eventual demise in her.

People who are attached to their ego would not be able to receive the idea of Kali and she will appear in a wrathful form to them. But people, who are engaged in spirituality, removing the illusion of the ego, will find Maha Kaali in a different form. Maa Kali will appear as sweet, affectionate, and overflowing with perplexing love for them.

Maa Kali – The Image
Goddess Kali has four arms and hands depicting her immense strength. In two of her hands, she holds a sword and a fresh severed head, representing a great battle in which she defeated the demon Raktabija. The other two hands are there to bless her true devotees, suggesting that they will be saved as she will guide them here and in the hereafter.

Kali wears a garland made of 52 skulls and a skirt made of dismembered arms because the ego comes out of identification with the body. It suggests that physical body is false and spirit is the only reality. Her black or sometimes dark blue skin represents the womb of the unmanifest from which all of creation is born and into which all of creation will ultimately return. Therefore, the concepts of color, light, dark, good or bad do not apply to her as she is the pure, un-manifested energy, the Adishakti.

Goddess Kali is seen standing with her one feet on Lord Shiva who is pure formless awareness Sat-Chit-Ananda (being-consciousness-bliss) while Kali represents “form” eternally sustained by the underpinning of pure awareness.

Kali Aarti
Goddess Kali Arti completes the worship or prayers made to the Goddess. It is believed that Kali aarti provides a completion to the Kali puja.

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Bollywoods Most Wanted

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Bollywoods Most Wanted, originally uploaded by firoze shakir photographerno1.

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My Diabetes

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My Diabetes, originally uploaded by firoze shakir photographerno1.

97,265 items / 591,699 views

My late mother Shamim Shakir had diabetes , I was diagnosed with borderline diabetes about 15 years back, it took a turn for the worst as I was an alcoholic too, I gave up booze almost 10 years I have never touched a drop since than , nor do I smoke or do drugs.
I was being treated for diabetes at Nanvati Hospital those days thanks to my dear friend Mr Prakash Pange we shared the same doctor.

However I continued with my medication , till I began cutting my head with a sword for Ashura Moharam rituals , at Lucknow in a segment called Athvi I bled for a very long time I had cut open a blood vessel , but without any injection or medication the grievous wound healed in two days.

I continued cutting myself and also walked on fire a ritual called Ag Ka Matam.
It was at Delhi during Chehlum – Moharam while cutting myself again , someone grabbed my sword from my hand thereby cutting a vital tendon of my hand ..this turned gangrenous on my way to Mumbai, my blood sugar was over 500 so I went to SL Raheja Hospital , and was treated by Dr AG Talwalkar ..

{The wound healed but permanently damaged my right hand I type with one finger of this hand and shoot pictures too , it has taken the shape of a Cobras hood..}

I had to take insulin to bring my sugar down or have my right hand amputated..

I continued with the insulin but stopped visiting the hospital completely..blogging made me stop walking too..I used to walk at Carter Road.

In June this year my son in law Assad Dadan, coaxed me to go for Ayurvedic treatment , I was hesitant but gave in , the lady doctor Dr Rekha J Paralkar of Chembur , was treating him for kidney stones and had successfully got rid of his stones in 3 days simply by intake of Ayurveda medicine.

I met Dr Rekha Paralkar and began my treatment 16 June 2009 ..She promised to bring my blood sugar down and get rid of my dependence on Insulin..gradually.

My blood sugar when I met her was
fasting 179
pp 374

the next visit
fasting 155
pp 162

9 july

fasting 81
pp 192

on 31 july 2009

fasting 96
pp 192

Than came Ramzan where my blood sugar goes haywire I completed 30 days of fasting ,
my blood sugar
yesterday was

fasting 82
pp 150

I take a tablet and a green powder before breakfast and before dinner ..prescribed by her, all my Allopathic medicines she had stopped .
My insulin dosage has reduced considerably from what it was
morning 10 unit
evening 4 unit..

I have placed my faith in her , and on myself too..I am not writing a testimonial for her but this kind lady has helped me a lot I still dont walk ..though my photo shoots could be considered marathon walks in a way..

I shoot pictures to share my cultural inheritance I dont sell pictures and photography as a blog has made me connect with some great people like you..

I would have gone insane without blogging.. It is addictive there is no denying it and can play havoc with family life too..I have manage to walk the tightrope without falling off balance..
This year has not been conducive to me personally or professionally.

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Abhijeet Bhattacharya- Ma Durga’s Chosen Son

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Abhijeet Bhattacharya- Ma Durga’s Chosen Son, originally uploaded by firoze shakir photographerno1.

en.wikipedia.org/wiki/Abhijeet_Bhattacharya

Abhijeet was born as Abhijeet Bhattacharya in a middle-class family in Kanpur, the youngest of four siblings. He passed his class X (Ten) from Ramakrishna Mission Higher Secondary School, Kanpur and Class XII from BNSD Inter College Chunni Ganj, Kanpur. Although his parents were against the idea, he went against their wishes and became a singer. He is an established singer in Bollywood, having done extensive playback singing for actor Shahrukh Khan. Nowadays, he also appears as a judge in reality shows based on singing contests on TV.
[edit] Career

Abhijeet left home for Mumbai in 1981 to study Chartered Accountancy. Due to his fascination for singing and music, he decided to pursue a career in playback singing and quit Chartered Accountancy. Despite being gifted with a melodious voice, he struggled for a long time.

After his long struggle in Mumbai, he received a call from Rahul Dev Burman to sing for Dev Anand’s sons debut film. Abhijeet also sang with Kishore Kumar, his idol, in the same film.

In the 1990s, Abhijeet established himself as a notable playback singer. His first notable hits were the songs from the film Baaghi, composed by Anand-Milind – Ek chanchal shokh hasina, Chandni raat hai and Har kasam se badi hai. Then in 1994 when he gave hits in movies like Yeh Dillagi, Anjaam, Raja Babu and Main Kihildi Tu Anari.. there was no looking back.. He became a hit machine along with his competitors Kumar Sanu and Udit Narayan he was among the top 3 play back singers of 90s and finally won the Filmfare Best Playback singer Award for Yes Boss in 1997.He went on to give hit numbers in the movies Baadshah, Yes Boss, Dilwale Dulhaniya Le Jayenge, Josh, Dhadkan, Chalte Chalte, Main Hoon Na

Some of his songs such as Kurta phaadke from Anari No. 1 did not do well with the public.

Abhijeet has given his voice for actors such as Shahrukh Khan, Sunil Shetty, Jackie Shroff, Anil Kapoor, Akshay Kumar, Govinda, Sanjay Dutt, Sunny Deol, Saif Ali Khan, Bobby Deol, Salman Khan, Aamir Khan, Hrithik Roshan, Ajay Devgan, among many others.

Abhijeet left home for Mumbai in 1981 to study Chartered Accountancy. Due to his fascination for singing and music, he decided to pursue a career in playback singing and quit Chartered Accountancy. Despite being gifted with a melodious voice, he struggled for a long time.

After his long struggle in Mumbai, he received a call from Rahul Dev Burman to sing for Dev Anand’s sons debut film. Abhijeet also sang with Kishore Kumar, his idol, in the same film.

In the 1990s, Abhijeet established himself as a notable playback singer. His first notable hits were the songs from the film Baaghi, composed by Anand-Milind – Ek chanchal shokh hasina, Chandni raat hai and Har kasam se badi hai. Then in 1994 when he gave hits in movies like Yeh Dillagi, Anjaam, Raja Babu and Main Kihildi Tu Anari.. there was no looking back.. He became a hit machine along with his competitors Kumar Sanu and Udit Narayan he was among the top 3 play back singers of 90s and finally won the Filmfare Best Playback singer Award for Yes Boss in 1997.He went on to give hit numbers in the movies Baadshah, Yes Boss, Dilwale Dulhaniya Le Jayenge, Josh, Dhadkan, Chalte Chalte, Main Hoon Na

Some of his songs such as Kurta phaadke from Anari No. 1 did not do well with the public.

Abhijeet has given his voice for actors such as Shahrukh Khan, Sunil Shetty, Jackie Shroff, Anil Kapoor, Akshay Kumar, Govinda, Sanjay Dutt, Sunny Deol, Saif Ali Khan, Bobby Deol, Salman Khan, Aamir Khan, Hrithik Roshan, Ajay Devgan, among many others.

He was recently seen as a Judge in a reality show called Star Voice of India. Mr Abhijit , refused to judge a contestant in an indian Idol (Singing show), only based on his place of birth was outside of india. He simply stated he can’t judge him. As a reaction to his gesture the singing partner for the Artist , who Abhijit refused to judge , told him if you will not judge my Partner , I will not like to be judged by you I would rather get 0 marks from the fellow judge but its far better then , getting marks form a biased judge.[1] Abhijit also violated the honor of being a judge since he was personally biased on his judging he never listened to the singing rather he was more interested in nationalities of people. [2]
[edit] Non-film music

After his success in playback singing, Abhijeet decided to try non-film pop music. He released two albums, Main Deewana Hoon and Tapori No.1. The albums did not achieve commercial success. Later he launched Aashiqui, which was appreciated by the audience. Recently, he has launched a pop album, called Tere Bina, whose songs and videos are chartbusters.

On May 3, 2006, he released another non-film album called Lamhe, which was well-appreciated. Currently Abhijit is a judge on the Sa Re Ga Ma Pa – Little Champs show.
[edit] Notable songs

* Dil Tujhpe Aa Gaya–1991 -Dil Hai Ke Manta Nahin
* Ole Ole -94 – Yeh Dillagi
* Main Khiladi Tu Anari -94 (title track) – Main Khiladi Tu Anari alonwith king of melody Udit Narayan
* Haan mujhe pyaar hua pyaar hua allahmiya- Judaai
* Zara sa Jhoom loo main -95 – Dilwale Dulhaniya Le Jayenge
* Wada Raha Sanam -90 – Khiladi
* Darwaza Band Karlo -93 – Darr
* Meri Jaane Jaana- Mohabbat
* Woh Ladki Jo Saab Se – Baadshah
* Title song – Baadshah
* Tum aaye to -2000 – Phir Bhi Dil Hai Hindustani
* I’m The Best – Phir Bhi Dil Hai Hindustani
* Kuch to Baata – Phir Bhi Dil Hai Hindustani
* Tauba Tumhare Ye Ishare -2003 – Chalte Chalte
* Suno Na – Chalte Chalte
* Title Song – Chalte Chalte
* Chaand Taare -97 – Yes Boss
* Main Koi Aisa Geet – Yes Boss
* Title Song[Sad]-2004 – Main Hoon Na
* Mere Khyaloon Ki Malika -2k – Josh
* Tum Dil Ki Dhadkan -2k – Dhadkan
* Roshini Se – Asoka
* Raat Ka Nasha – Asoka
* Aye Nazaneen – Dil Hi Dil Mein
* Teri ankhen jhuki jhuki -96 – Fareb
* Shaher Ki ladki – Rakshak
* Jhanjhriya – Krishna
* Pyaar Se Pyaar Hum Ab To Karne Lage -01-Raaz
* Ishq chupta nahin chupaane se – Bewafaa
* Aisa koi zindagi mein aaye – Dosti
* Tan tana tan tan tara –98 – Judwaa
* Sandesa Aya, Jab Tak Hai Saans, Kabhie Kabhie Sapne – Kaafila
* Dhoom Taana -07 – Om Shanti Om
* Dil le le-Khiladi 420
* Yeh Dillagi–94-Yeh Dillagi
* koi nahi tera jaisa-Keemat
* main rahu naa rahu meri aawaz -2006-lamhe
* Ek Chanchal Shook Haseena -90-BAGHI
* Deewana Deewana Main Tere Liye-Daraar
* Lahma Lahma Doori -06-Gangstar
* Badi Mushkil Hai -94-Anjaam
* Ah a e O oh O -94-Raja Babu
* itna mujhe pata hai-Khiladiyon ka khiladi
* Bharo meri mang baro-Sabse bada khiladi
* jab tak rahega samosa main aloo-mr and mrs khiladi
* Maine to khai kasam-Awara pagal deewana
* Tumhain kaise main batoo-Dastak
* Aankhon main base ho tum-Takkar
* Jhanjarya-Krishna
* Tum dil ki dhadkan main-Dhadkan

[edit] Awards

* Filmfare Best Male Playback Award (1997) for Main Koi Aisa Geet Gaaon (Yes Boss)
* Screen-Videocon Award for the best singer in 1997 for Chand taare in Yes Boss
* MTV Life Time Achievement Award.
* Uttar Pradesh Gaurav Samman[3]

[edit] Personal life

Abhijeet is married to Sumaati.[4] The couple have two sons.

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Abhijeet’s Lokhandwala Durgotsav 2009

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Abhijeet’s Lokhandwala Durgotsav 2009, originally uploaded by firoze shakir photographerno1.

97,242 items / 591,439 views

This is my new set on Flickr shot this evening,singer Bollywood celebrity Abhijeets Lokhandwala Durgotsav 2009.
This pandal is Abhijeets baby from the word go, period , sponsored by Times of India.

One of the most beautiful Pandal of the few I have shot at Bandra Khar and Juhu. I was here for a short while , I had come on some work at Veera Desai Road and cutting across a lane reached the Pandal by rickshah.

I met Abhijeet too,in a silk kurta and the most exotic Bengali dhoti, he was really very humble , crowds gathering around him to shoot his pictures , and Abhijeet is Ma Durgas chosen son..he has made her a brand equity , she touches the core of all Bengali hearts including this Muslim one too.
I have shot Abhijeets Durga Visarjan a few years back at Juhu..

Abhijeets love and dedication and devotion for Durga has borne fruit.. this pandal mystifies your soul holding you in a clutch and wont let you go…I have captured the magic of this pandal on digital film..I must mention the volunteers of this Pandal in designer threads made for the occasion are exemplary in their duty to Ma Durga ..their humility touched me immensely.

The Times of India journos dont much care for bloggers writing them off in carefully worded obits, , but blogs dont die unless you delete them…and a photo blog lives on forever blessed by divinity for all time..be it Lalbagh Cha Raja or Durga or Jesus on the streets of Kalina on Good Friday..Pitru Paksh at Banganga or Idd Namaz at Bandra Station Road..

Thank you Times of India ..
Thank you Abhijeet.

Filed under: Firoze Shakir Bollywoods Most Wanted

Khar Ram Krishna Mission Sarbojnin Durgotsab 2009

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Khar Ram Krishna Mission Sarbojnin Durgotsab 2009, originally uploaded by firoze shakir photographerno1.

www.rkmkhar.org/

“God cannot be known by reasoning.
By faith alone one attains everything – knowledge and super-knowledge.
By faith alone one sees God and becomes intimate with Him”

- Sri Ramakrishna -

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Notunpalli Sarbojnin Durgotsab 2009 Bandra

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Notunpalli Sarbojnin Durgotsab 2009 Bandra, originally uploaded by firoze shakir photographerno1.

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Notunpalli Sarbojnin Durgotsab 2009 Bandra

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Notunpalli Sarbojnin Durgotsab 2009 Bandra, originally uploaded by firoze shakir photographerno1.

Complete Series on Flickr

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Google Searching For God

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Google Searching For God, originally uploaded by firoze shakir photographerno1.

Google searching
for god
street and corners
I comb
through
the wilderness
of my blog
I try to find
my way home
wave after wave
on Google chrome
caught in the bind
strangulating my soul
this poetry syndrome
recklessly on cyberspace
like a a hermit I roam
unpublished poet
writing a tome

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