http://groups.google.com/group/rec.arts.movies.local.indian?hl=en
rec.arts.movies.local.indian@googlegroups.com
Today's topics:
* Brit Hume: Tiger Woods Should 'Turn to the Christian Faith' - 1 messages, 1
author
http://groups.google.com/group/rec.arts.movies.local.indian/t/879fb764b11a609d?hl=en
* STATUS OF PIE. IE IS A MYTH CREATED BY INDOLOGISTS - REVIEW OF A NEW BOOK ***
Jai Maharaj posts - 9 messages, 5 authors
http://groups.google.com/group/rec.arts.movies.local.indian/t/f58e5f66091b07e5?hl=en
* Should Hindus celebrate Western holidays? - 1 messages, 1 author
http://groups.google.com/group/rec.arts.movies.local.indian/t/75d476f7a33f2216?hl=en
* RICE, WHEAT, BARLEY & GRAPE FROM 7000 BCE IN GANGA JI - 3 messages, 3
authors
http://groups.google.com/group/rec.arts.movies.local.indian/t/cd76209c8ae23ed4?hl=en
* INDUS WRITING ON METAL TOOLS AND UTENSILS, ENCODES SPEECH *** Jai Maharaj
posts - 2 messages, 2 authors
http://groups.google.com/group/rec.arts.movies.local.indian/t/540b00ac304bf0cc?hl=en
* DEVADASIS - BHARAT'S LEGENDARY TEMPLE DANCERS *** Jai Maharaj posts - 2
messages, 2 authors
http://groups.google.com/group/rec.arts.movies.local.indian/t/6a02e44a46226db7?hl=en
* gujarat now has fewer kirastanis - 1 messages, 1 author
http://groups.google.com/group/rec.arts.movies.local.indian/t/5d3af22822ce7d25?hl=en
* Is the State of Kerala Sponsoring Islamic Terrorism?-C.I. Issac-1 January
2010 - 1 messages, 1 author
http://groups.google.com/group/rec.arts.movies.local.indian/t/647e05e97754218f?hl=en
* Proselytization In India: An Indian Christian's Perspective - 2 messages, 2
authors
http://groups.google.com/group/rec.arts.movies.local.indian/t/1b6576e30c9e776f?hl=en
* kerals are now alcoholics - 1 messages, 1 author
http://groups.google.com/group/rec.arts.movies.local.indian/t/3b8d21cb2938a7ed?hl=en
==============================================================================
TOPIC: Brit Hume: Tiger Woods Should 'Turn to the Christian Faith'
http://groups.google.com/group/rec.arts.movies.local.indian/t/879fb764b11a609d?hl=en
==============================================================================
== 1 of 1 ==
Date: Mon, Jan 4 2010 3:13 pm
From: usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)
In article <25e8f02a-67d7-4c80-aa9a-1f16d73ce702@l30g2000yqb.googlegroups.com>,
fanabba <fanabba@aol.com> posted:
> Dr. Jai Maharaj posted:
> > In article <cd8b08cb-4abc-4a96-b240-7069e67bd...@21g2000vbh.googlegroups.=
> com>,
> > =EF=BF=BDfanabba <fana...@aol.com> posted:
> >
> >
> >
> > > On Jan 4, 11:56=3DEF=3DBF=3DBDam, fanabba <fana...@aol.com> wrote:
>
> > > > Brit Hume: Tiger Woods Should 'Turn to the Christian Faith'
> >
> > > >http://www.politicsdaily.com/2010/01/04/brit-hume-tiger-woods-should-.=
> ...
> >
> > > Have people of the "Christian Faith" not committed adultery ?
> > Maybe Brit Hume wants Tiger Woods to commit more.
> > - Jai Maharaj
> Good point !
Related:
Pat Buchanan defends Brit Hume regarding the advice Hume gave to
Tiger Woods (convert to Christianity).
Video:
http://www.thehopeforamerica.com/play.php?id=2688
Jai Maharaj, Jyotishi
Om Shanti
==============================================================================
TOPIC: STATUS OF PIE. IE IS A MYTH CREATED BY INDOLOGISTS - REVIEW OF A NEW
BOOK *** Jai Maharaj posts
http://groups.google.com/group/rec.arts.movies.local.indian/t/f58e5f66091b07e5?hl=en
==============================================================================
== 1 of 9 ==
Date: Mon, Jan 4 2010 3:15 pm
From: hari.kumar@indero.com
"These racists are being cut down to size. Even the man in the White
House is only half white (although he has yet to show his long-form
birth certificate to prove eligibility). "
Jay stevens,aka dr. jai etc. is a white bigot.
Each state handles confirmation of birth. The state confirmed it, the
very state in which jay stevens,aka dr. jai etc. resides as an american
citizen .
Funny too that jay stevens,aka dr. jai etc. has in past refused to
provide the same information.
As he also refuses about claims in support of education and language
used and other bits of his self invented web image.
So not only is jay stevens,aka dr. jai etc. a white bigot, he is a
hypocrite.
== 2 of 9 ==
Date: Mon, Jan 4 2010 3:20 pm
From: "harmony"
"M. Ranjit Mathews" <ranjit_mathews@yahoo.com> wrote in message
news:be044629-e268-4f56-99d0-cc1814eb1915@m26g2000yqb.googlegroups.com...
On Jan 4, 2:24 pm, "harmony" <a...@hotmail.com> wrote:
> the europeans have a psychological need to be the original aryans.
<Then, why did they originally claim that the Aryans invaded Europe
from Asia?>
the europeans started on this craze when they had an overpowering need to
disentagle themselves from kreepy, killer kirastanism, and hence to prove
they really had nothing to do with the mideast monotheist madness (tied to
the infamous 3m). the whites had had it with the missionarism, mullaism and
marxism. to make the matter worse, they had a thing about the jews too. in
other words the whites did not like their inner being. but of course, they
loved their outer layer.
> they are just pissed off they can't reconcile thay they are white and
> the aryans were/are brown.
<Then, how are they able to reconcile their being white with their
belief that man originated in Africa?>
africa --> mideast --> and then india. it takes a while to know that real
civilization (sanskriti) started from india in the satya yuga with the
ultimate civilizing language (sanskrit).
the white folks are laboring under the mistaken assumption that civilization
has been progressing from primitive in the stone age to the modern.
no, no, no.............
the best the world had was during satya uga where the humanity started fully
civilized, albeit slowly eroding. sanskrit wasn't for mere communication for
things comprehensible (even to the most advanced human minds), its greater
use was spiritual.
he iswhar gowray logon ko sadbuddhi deejo. next nobel prize in science
should go to some one who does some research on satya yuga.
== 3 of 9 ==
Date: Mon, Jan 4 2010 3:51 pm
From: usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)
In article <4b4277b0$0$5330$bbae4d71@news.suddenlink.net>,
"harmony" <aka@hotmail.com> posted:
>
> he iswhar gowray logon ko sadbuddhi deejo.
They may have it but they just don't know how to look within for the buddhi.
> next nobel prize in science
> should go to some one who does some research on satya yuga.
Only a promise to do something is needed. Obama's Nobel demonstrates this.
Jai Maharaj, Jyotishi
Om Shanti
== 4 of 9 ==
Date: Mon, Jan 4 2010 4:04 pm
From: "harmony"
lol. i agree.
<usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)> wrote in
message news:20100104SJ87u8sHN6hmnT0ohzMy1y8@WV73r...
> In article <4b4277b0$0$5330$bbae4d71@news.suddenlink.net>,
> "harmony" <aka@hotmail.com> posted:
>>
>> he iswhar gowray logon ko sadbuddhi deejo.
>
> They may have it but they just don't know how to look within for the
> buddhi.
>
>> next nobel prize in science
>> should go to some one who does some research on satya yuga.
>
> Only a promise to do something is needed. Obama's Nobel demonstrates this.
>
> Jai Maharaj, Jyotishi
> Om Shanti
>
== 5 of 9 ==
Date: Mon, Jan 4 2010 4:26 pm
From: usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)
A Satya Yug puraskaar . . . hmm . . . how about one for research in
all the yugs? But then, what in your opinion may not be known?
Jai Maharaj, Jyotishi
Om Shanti
In article <4b42822c$0$5348$bbae4d71@news.suddenlink.net>,
"harmony" <aka@hotmail.com> posted:
>
> lol. i agree.
> Dr. Jai Maharaj posted:
>
> > In article <4b4277b0$0$5330$bbae4d71@news.suddenlink.net>,
> > "harmony" <aka@hotmail.com> posted:
> >>
> >> he iswhar gowray logon ko sadbuddhi deejo.
> >
> > They may have it but they just don't know how to look within for the
> > buddhi.
> >
> >> next nobel prize in science
> >> should go to some one who does some research on satya yuga.
> > Only a promise to do something is needed. Obama's Nobel demonstrates this.
> >
> > Jai Maharaj, Jyotishi
> > Om Shanti
>
== 6 of 9 ==
Date: Mon, Jan 4 2010 4:37 pm
From: "harmony"
the white folks are looking at it from the wrong end.
if they looked at right (which would mean they must first learn to
communicate in sanskrit language), then all the so-called linguists would
have to find real jobs.
<usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)> wrote in
message news:20100104UOpgw2L0yKT9gu8Kn9MqiBm@L7DNP...
>A Satya Yug puraskaar . . . hmm . . . how about one for research in
> all the yugs? But then, what in your opinion may not be known?
>
> Jai Maharaj, Jyotishi
> Om Shanti
>
> In article <4b42822c$0$5348$bbae4d71@news.suddenlink.net>,
> "harmony" <aka@hotmail.com> posted:
>>
>> lol. i agree.
>
>> Dr. Jai Maharaj posted:
>>
>> > In article <4b4277b0$0$5330$bbae4d71@news.suddenlink.net>,
>> > "harmony" <aka@hotmail.com> posted:
>> >>
>> >> he iswhar gowray logon ko sadbuddhi deejo.
>> >
>> > They may have it but they just don't know how to look within for the
>> > buddhi.
>> >
>> >> next nobel prize in science
>> >> should go to some one who does some research on satya yuga.
>
>> > Only a promise to do something is needed. Obama's Nobel demonstrates
>> > this.
>> >
>> > Jai Maharaj, Jyotishi
>> > Om Shanti
>
>>
== 7 of 9 ==
Date: Mon, Jan 4 2010 5:03 pm
From: usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)
You make a valid point. I know a couple of linguists who do know
Sanskrit, but they know only its literal part. They rebel against
learning the spiritual since it is a divine language. Even the label
"language" is insufficient to describe it.
Jai Maharaj, Jyotishi
Om Shanti
In article <4b4289c3$0$5346$bbae4d71@news.suddenlink.net>,
"harmony" <aka@hotmail.com> posted:
>
> the white folks are looking at it from the wrong end.
> if they looked at right (which would mean they must first learn to
> communicate in sanskrit language), then all the so-called linguists would
> have to find real jobs.
> Dr. Jai Maharaj posted:
>
> >A Satya Yug puraskaar . . . hmm . . . how about one for research in
> > all the yugs? But then, what in your opinion may not be known?
> >
> > Jai Maharaj, Jyotishi
> > Om Shanti
> >
> > In article <4b42822c$0$5348$bbae4d71@news.suddenlink.net>,
> > "harmony" <aka@hotmail.com> posted:
> >>
> >> lol. i agree.
> >
> >> Dr. Jai Maharaj posted:
> >>
> >> > In article <4b4277b0$0$5330$bbae4d71@news.suddenlink.net>,
> >> > "harmony" <aka@hotmail.com> posted:
> >> >>
> >> >> he iswhar gowray logon ko sadbuddhi deejo.
> >> >
> >> > They may have it but they just don't know how to look within for the
> >> > buddhi.
> >> >
> >> >> next nobel prize in science
> >> >> should go to some one who does some research on satya yuga.
> >
> >> > Only a promise to do something is needed. Obama's Nobel demonstrates
> >> > this.
> >> >
> >> > Jai Maharaj, Jyotishi
> >> > Om Shanti
> >
> >>
>
>
== 8 of 9 ==
Date: Mon, Jan 4 2010 11:06 pm
From: Panu
On Jan 4, 9:24 pm, "harmony" <a...@hotmail.com> wrote:
> the europeans have a psychological need to be the origianal aryans. they are
> just pissed off they can't reconcile thay they are white and the aryans
> were/are brown.
In my native language, the word for slave is cognate with Aryan.
== 9 of 9 ==
Date: Mon, Jan 4 2010 11:52 pm
From: "PaulJK"
Panu wrote:
> On Jan 4, 9:24 pm, "harmony" <a...@hotmail.com> wrote:
>> the europeans have a psychological need to be the origianal aryans. they are
>> just pissed off they can't reconcile thay they are white and the aryans
>> were/are brown.
>
> In my native language, the word for slave is cognate with Aryan.
:-)))))
pjk
==============================================================================
TOPIC: Should Hindus celebrate Western holidays?
http://groups.google.com/group/rec.arts.movies.local.indian/t/75d476f7a33f2216?hl=en
==============================================================================
== 1 of 1 ==
Date: Mon, Jan 4 2010 4:02 pm
From: usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)
harmony ji ttheek hee keh rahe hai(n), inkee suniye Athish ji. |
vaise aapkee post bar(r)ee achhee lagee, dhanyavaad!
ek aur baat: apnaa teliphoon number-vumber yahaa(n) na likhiye anyathaa
goonday-log aapke peechhay lug jaaye(n)ge |
Jai Maharaj, Jyotishi
Om Shanti
In article <4b427ce0$0$5315$bbae4d71@news.suddenlink.net>,
"harmony" <aka@hotmail.com> posted:
>
> good post. parantu, athish ji, yeh baat aap ko bees deen pahle se kahni
> thee.
>
> beganee shadee mein kerala diwana, eise mallu ko mashkil hai smajana.
>
> 3m and darrowalas mesmerized the hindus into gulping 11000 liters in the
> mean time for this kirastani usurpation of pagan winter solstice.
> "Athish Ravikanth" <athishravikanth@gmail.com> wrote in message
> news:506b9fee-4d10-4dd0-a5ac-93231acd9eab@d20g2000yqh.googlegroups.com...
>
> > Jai Hind,
> >
> > Although Westerners have their own conventions, there is no reason for
> > Hindus to celebrate January 1 as the beginning of a new year. 2010
> > commemorates nothing since the reckoning of time did not begin 2010
> > years ago - 2011 years ago the Jews, the Egyptians, the Chinese and
> > the Indians all marked the beginning of their 'new year' with
> > something that was specific to their culture. Hindus have been under
> > the Western yoke for so long that they have lost their way.
> > Objectively a new year starts for each person on the anniversary of
> > their appearance day or wedding day and for each culture with an event
> > that was especially significant to it.
> >
> > Jai Hind
> > Athish Ravikanth
> > 9379030409, 9945969917
> > http://groups.google.co.in/group/bharat-jagruti-morcha?hl=en
>
>
==============================================================================
TOPIC: RICE, WHEAT, BARLEY & GRAPE FROM 7000 BCE IN GANGA JI
http://groups.google.com/group/rec.arts.movies.local.indian/t/cd76209c8ae23ed4?hl=en
==============================================================================
== 1 of 3 ==
Date: Mon, Jan 4 2010 4:06 pm
From: "harmony"
and they all tasted a whole lot better and cost less.
<usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)> wrote in
message news:20100101MH39l7yXLe1iNZyjLenr9l6@C9Noi...
> Forwarded message from S. Kalyanaraman
>
> Saturday, November 28, 2009
>
> Rice, wheat, barley & grape from 7000 BCE in Ganges
>
> Forwarded message from Carlos Aramayo
>
> Saturday, November 28, 2009
>
> Dear friends,
>
> Let's take a look at
>
> Pokharia A., J.N. Pal and A. Srivastava, 2009. "Plant macro-remains
> from Neolithic Jhusi in Ganga Plain: evidence for grain-based
> agriculture", in Current Science, Vol. 97, No. 4, 25 August 2009,
> pp. 564-572.
>
> http://www.ias.ac.in/currsci/aug252009/564.pdf
>
> This recent and revolutionary article establishes that, since at
> least 7th millennium BC, the Neolithic plant remains in Jhusi show
> that possibly the Middle Ganges people were in contact with the
> original home of winter crops (i.e. Mehrgarh in Baluchistan around
> 7000-5500 BCE).
>
> Until now, it was thought that wheat and barley were introduced into
> Gangetic region only around 2500-2000 BC from Harappan region, now
> three calibrated C14 samples show a range of 7106 to 5642 BCE for
> wheat and barley at Jhusi.
>
> Also, Pokharia et al 2009 contributes with the report of 250 new
> oriza sativa (cultivated) grains from these earliest Neolithic
> levels in Jhusi that come to support the Rakesh Tewari's findings of
> cultivated rice grains from 6400 BCE in Lahuradewa IA level.
>
> And that's not all. Pokharia et al also reports the finding of a
> grape seed, which could suggest viticulture in Ganges Valley since
> such early times.
>
> Who knows what other surprises can research in Ganges Valley show us?
>
> Best regards,
>
> Carlos
>
> End of forwarded message from Carlos Aramayo
>
> End of forwarded message from S. Kalyanaraman
>
> Jai Maharaj, Jyotishi
> Om Shanti
>
> o Not for commercial use. Solely to be fairly used for the
> educational
> purposes of research and open discussion. The contents of this post may
> not
> have been authored by, and do not necessarily represent the opinion of the
> poster. The contents are protected by copyright law and the exemption for
> fair use of copyrighted works.
> o If you send private e-mail to me, it will likely not be read,
> considered or answered if it does not contain your full legal name,
> current
> e-mail and postal addresses, and live-voice telephone number.
> o Posted for information and discussion. Views expressed by others
> are
> not necessarily those of the poster who may or may not have read the
> article.
>
> FAIR USE NOTICE: This article may contain copyrighted material the use of
> which may or may not have been specifically authorized by the copyright
> owner. This material is being made available in efforts to advance the
> understanding of environmental, political, human rights, economic,
> democratic, scientific, social, and cultural, etc., issues. It is believed
> that this constitutes a 'fair use' of any such copyrighted material as
> provided for in section 107 of the US Copyright Law. In accordance with
> Title
> 17 U.S.C. Section 107, the material on this site is distributed without
> profit to those who have expressed a prior interest in receiving the
> included
> information for research, comment, discussion and educational purposes by
> subscribing to USENET newsgroups or visiting web sites. For more
> information
> go to: http://www.law.cornell.edu/uscode/17/107.shtml
> If you wish to use copyrighted material from this article for purposes of
> your own that go beyond 'fair use', you must obtain permission from the
> copyright owner.
>
> Since newsgroup posts are being removed
> by forgery by one or more net terrorists,
> this post may be reposted several times.
== 2 of 3 ==
Date: Mon, Jan 4 2010 4:29 pm
From: usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)
Yes, and were a lot more nutritious and devoid of pesticide residues.
Jai Maharaj, Jyotishi
Om Shanti
In article <4b428292$0$5337$bbae4d71@news.suddenlink.net>,
"harmony" <aka@hotmail.com> posted:
>
> and they all tasted a whole lot better and cost less.
> Dr. Jai Maharaj posted:
>
> > Forwarded message from S. Kalyanaraman
> >
> > Saturday, November 28, 2009
> >
> > Rice, wheat, barley & grape from 7000 BCE in Ganges
> >
> > Forwarded message from Carlos Aramayo
> >
> > Saturday, November 28, 2009
> >
> > Dear friends,
> >
> > Let's take a look at
> >
> > Pokharia A., J.N. Pal and A. Srivastava, 2009. "Plant macro-remains
> > from Neolithic Jhusi in Ganga Plain: evidence for grain-based
> > agriculture", in Current Science, Vol. 97, No. 4, 25 August 2009,
> > pp. 564-572.
> >
> > http://www.ias.ac.in/currsci/aug252009/564.pdf
> >
> > This recent and revolutionary article establishes that, since at
> > least 7th millennium BC, the Neolithic plant remains in Jhusi show
> > that possibly the Middle Ganges people were in contact with the
> > original home of winter crops (i.e. Mehrgarh in Baluchistan around
> > 7000-5500 BCE).
> >
> > Until now, it was thought that wheat and barley were introduced into
> > Gangetic region only around 2500-2000 BC from Harappan region, now
> > three calibrated C14 samples show a range of 7106 to 5642 BCE for
> > wheat and barley at Jhusi.
> >
> > Also, Pokharia et al 2009 contributes with the report of 250 new
> > oriza sativa (cultivated) grains from these earliest Neolithic
> > levels in Jhusi that come to support the Rakesh Tewari's findings of
> > cultivated rice grains from 6400 BCE in Lahuradewa IA level.
> >
> > And that's not all. Pokharia et al also reports the finding of a
> > grape seed, which could suggest viticulture in Ganges Valley since
> > such early times.
> >
> > Who knows what other surprises can research in Ganges Valley show us?
> >
> > Best regards,
> >
> > Carlos
> >
> > End of forwarded message from Carlos Aramayo
> >
> > End of forwarded message from S. Kalyanaraman
> >
> > Jai Maharaj, Jyotishi
> > Om Shanti
> >
> > o Not for commercial use. Solely to be fairly used for the
> > educational
> > purposes of research and open discussion. The contents of this post may
> > not
> > have been authored by, and do not necessarily represent the opinion of the
> > poster. The contents are protected by copyright law and the exemption for
> > fair use of copyrighted works.
> > o If you send private e-mail to me, it will likely not be read,
> > considered or answered if it does not contain your full legal name,
> > current
> > e-mail and postal addresses, and live-voice telephone number.
> > o Posted for information and discussion. Views expressed by others
> > are
> > not necessarily those of the poster who may or may not have read the
> > article.
> >
> > FAIR USE NOTICE: This article may contain copyrighted material the use of
> > which may or may not have been specifically authorized by the copyright
> > owner. This material is being made available in efforts to advance the
> > understanding of environmental, political, human rights, economic,
> > democratic, scientific, social, and cultural, etc., issues. It is believed
> > that this constitutes a 'fair use' of any such copyrighted material as
> > provided for in section 107 of the US Copyright Law. In accordance with
> > Title
> > 17 U.S.C. Section 107, the material on this site is distributed without
> > profit to those who have expressed a prior interest in receiving the
> > included
> > information for research, comment, discussion and educational purposes by
> > subscribing to USENET newsgroups or visiting web sites. For more
> > information
> > go to: http://www.law.cornell.edu/uscode/17/107.shtml
> > If you wish to use copyrighted material from this article for purposes of
> > your own that go beyond 'fair use', you must obtain permission from the
> > copyright owner.
> >
> > Since newsgroup posts are being removed
> > by forgery by one or more net terrorists,
> > this post may be reposted several times.
>
>
== 3 of 3 ==
Date: Tues, Jan 5 2010 12:16 am
From: Franz Gnaedinger
On Jan 4, 10:33 pm, Harlan Messinger
<hmessinger.removet...@comcast.net> wrote:
>
> One-way from Marseilles to any part of Switzerland is more than that.
Hole tribes with women and children wandered
four hundred kilometers a year, a small group
of mammoth hunters, men only, was far quicker.
==============================================================================
TOPIC: INDUS WRITING ON METAL TOOLS AND UTENSILS, ENCODES SPEECH *** Jai
Maharaj posts
http://groups.google.com/group/rec.arts.movies.local.indian/t/540b00ac304bf0cc?hl=en
==============================================================================
== 1 of 2 ==
Date: Mon, Jan 4 2010 4:08 pm
From: "harmony"
it is amazing: as little as we know about the ancient hindus, it is still
overwhelming.
by contrast more we kow about 3m, sicker we get.
<usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)> wrote in
message news:20091230Q52973NB646cTL30zT9V4Pi@PGQLO...
> Forwarded message from S. Kalyanaraman
>
> Indus writing on metal tools and utensils, encodes speech
>
> Saturday, December 5, 2009
>
> http://sites.google.com/site/induswriting/epigraphs
>
> Updated 6 Dec. 2009
>
> Indus writing on metal tools and utensils, encodes speech
>
> http://www.docstoc.com/docs/18615254/Indus-writing-on-utensils-and-metal-tools
>
> A hypothesis is that the Indus writing is related to smithy-guild.
> The hypothesis is validated by reading rebus, the mleccha [milakkhu
> 'copper' (Pali), cognate meluhha] homonym glosses.
>
> The early smith not only invented alloying but also a writing system
> to create smithy-guild tokens to authenticate the trade transactions
> over an extensive area extending from Ropar in Sarasvati River basin,
> Punjab to Ur in Mesopotamia. The trade was the mother of invention;
> trade necessitated authentication of the smelting, forging, casting,
> ingot, moulding metalwork using a range of mineral ores. This is the
> function performed by over 400 pictorial glyphs (so-called signs))
> and over 100 pictorial motifs (so-called field symbols) of the Indus
> writing system which encoded mleccha speech (referred to as
> mlecchitavikalpa by Vatsyayana included in the list of 64 arts in
> vidyaasamuddesha, objective of vidyaa, education).
>
> 1. There are inscriptions on metal tools, evidencing the
> competence of the smith as a scribe (karNaka, the most-frequently
> used glyph, which means: rim of jar).
>
> 2. There are over 230 copper tablets inscribed with Indus writing
> (see appended epigraphs), again evidencing the competence of the
> smith as a scribe.
>
> 3. Over 10 metal tools and metal weapons of Kalibangan, Chanhu-
> daro, Harappa and Mohenjo-daro are inscribed.
>
> 4. Mesopotamian texts evidence trade with Meluhha (Sarasvati
> civilization area) in metals such as gold, silver, copper, tin and
> alloys such as bronze which are high-value products of the times.
>
> 5. The legacy of the Indus mint continues into the historical
> periods with the vivid use of Indus glyphs on early punch-marked
> coins (cf. Theobald sign-list of punch-mark signs), Sohgaura copper-
> plate, Rampurva copper bolt between ca. 6th and 3rd cent. BCE.
>
> 6. An average of 5 glyphs (both pictorial motifs and signs) are
> used on Indus epigraphs. An average of 5 glyphs (both pictorial
> motifs and signs) are used on punch-marked coins produced by metal-
> smith-guilds/mints of janapadas (peoples' republics), consistent with
> the repertoire of early smithy-guilds.
>
> 7. The tradition of use of copper tablets to record property/trade
> transactions and rajashasana continues in India during the historical
> periods.
>
> 8. The cultural continuum is also evidenced by the continued use
> of cire perdue (lost wax) technique used for making bronze images (as
> in Mohenjodaro dancing girl) of utsavabera made even today in
> Swamimalai and other parts of India.
>
> 9. Bronze-age iron is evidenced in many archaeological sites and 3
> sites of Malhar, Lohardewa and Raja-nal-ki-tila on Ganga basin have
> shown evidence of iron smelters ca. 1800 BCE. The areas of austro-
> asiatic speakers is correlated with the areas where early mineral-
> smelting, iron-smelting have been located.
>
> 10. The standards of metrology (particulary weights) are used in
> the civilization contact area (e.g. Magan, Dilmun) as evidenced by
> the recent archaeological finds of weights and use of Indus writing
> system in Persian Gulf states. 11. Two pure tin ingots found in a
> shipwreck at Haifa contained inscriptions using Indus script glyphs.
> The glyphs have been decoded as tin mineral (ranku dhatu).
>
> Dholavira advertisement-board using many glyphs used on metal tool
> inscriptions, decoding the advertisement-board announcing a variety
> of metallurgical services. Mesopotamian texts also record trade in
> 'fish-eyes' [decoded as ka_n. 'iron' nodules; ayo 'fish'; rebus: ayas
> 'iron' (Skt.)].
>
> See: http://www.docstoc.com/docs/18309089/engrave
>
> In the Indian tradition, a smithy is also a temple, as evidenced by
> the gloss: kole.l which means both a smithy and a temple in Kota
> language. The sanctity of metal work is paralleled by the sanctity of
> bronze utsava bera [bronze sculptures carried in sacred processions,
> and worshipped (puja) in homes]. Veneration of ancestors in
> dhatugarbha (dagoba) or stupas or megalithic circles of stones gains
> added significance in Indian tradition, by the semantics of the
> gloss: dhatu. Dhatu means 'mineral' and it also means 'relics'. Both
> are as sacred as the sacred-fire, the sacred witness-ordainer uniting
> aatman with the cosmos, aatman with the paramaatman: agnim i_l.e
> purohitam...
>
> On numeral strokes of the script
>
> Use of numeral strokes is a distinguishing structural feature of the
> writing system. See: Decoding of numeric stroke glyphs of Indus
> script
>
> http://www.docstoc.com/docs/18484078/numerals
>
> Consistent with this decoding of numeric strokes in general,
> numerals on metal tools and utensils may be read rebus and may not
> relate to counting of objects or volumetric or weight measures.
>
> An outline is apposite, to start with, on the use and rebus semantics
> of numeral strokes on metal tools, by reviewing some samples of
> epigraphs on non-metal objects.
>
> http://tinyurl.com/yf2a83r
>
> kalibangan 059a shows structural groups of numeral strokes, together
> with a 'bow' glyph.
>
> Mint, workshop (for) native metal, furnace, smithy.
>
> kama-t.hiyo = archer; ka-mat.hum = a bow; ka_mad.i_, ka_mad.um = a
> chip of bamboo (G.) ka_mat.hiyo a bowman; an archer (Skt.lex.) Rebus:
> kammat.a = portable furnace (Te.) kampat.t.am coiner, mint (Ta.)
>
> One short numeral stroke: sal stake, spike, splinter, thorn,
> difficulty (H.); rebus: sal 'workshop' (Santali)
>
> One long numeral stroke with superscripte of two short strokes: kod.a
> = in arithmetic, one (Santali) Together with pairing sign Sign 99:
> at.ar a splinter; at.aruka to burst, crack, slit off, fly open;
> at.arccasplitting, a crack; at.arttuka to split, tear off, open (an
> oyster)(Ma.); ad.aruni to crack (Tu.)(DEDR 66) Rebus: kod. 'workshop'
> (G.); aduru 'native metal' (Ka.)
>
> The numeral strokes should be read as: 3+2 (non-superscript). kolmo
> 'three'; rebus: kolimi 'forge' (Te.); dol 'pair'; rebus: dul 'cast'
> as in dul mer.ed 'cast iron' (Santali). Thus 3+2 are decoded as:
> forging, casting (smithy)] Vikalpa: pan~ca 'five' (Skt.) pasra
> 'smithy' (Santali).
>
> Read on...
>
> http://www.docstoc.com/docs/18615254/Indus-writing-on-utensils-and-metal-tools
>
> End of forwarded message from S. Kalyanaraman
>
> Jai Maharaj, Jyotishi
> Om Shanti
>
> o Not for commercial use. Solely to be fairly used for the
> educational
> purposes of research and open discussion. The contents of this post may
> not
> have been authored by, and do not necessarily represent the opinion of the
> poster. The contents are protected by copyright law and the exemption for
> fair use of copyrighted works.
> o If you send private e-mail to me, it will likely not be read,
> considered or answered if it does not contain your full legal name,
> current
> e-mail and postal addresses, and live-voice telephone number.
> o Posted for information and discussion. Views expressed by others
> are
> not necessarily those of the poster who may or may not have read the
> article.
>
> FAIR USE NOTICE: This article may contain copyrighted material the use of
> which may or may not have been specifically authorized by the copyright
> owner. This material is being made available in efforts to advance the
> understanding of environmental, political, human rights, economic,
> democratic, scientific, social, and cultural, etc., issues. It is believed
> that this constitutes a 'fair use' of any such copyrighted material as
> provided for in section 107 of the US Copyright Law. In accordance with
> Title
> 17 U.S.C. Section 107, the material on this site is distributed without
> profit to those who have expressed a prior interest in receiving the
> included
> information for research, comment, discussion and educational purposes by
> subscribing to USENET newsgroups or visiting web sites. For more
> information
> go to: http://www.law.cornell.edu/uscode/17/107.shtml
> If you wish to use copyrighted material from this article for purposes of
> your own that go beyond 'fair use', you must obtain permission from the
> copyright owner.
>
> Since newsgroup posts are being removed
> by forgery by one or more net terrorists,
> this post may be reposted several times.
== 2 of 2 ==
Date: Mon, Jan 4 2010 4:38 pm
From: usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)
The survival of the civilized world depends on the eradication of 3m^c-ism.
Jai Maharaj, Jyotishi
Om Shanti
In article <4b42830c$0$5319$bbae4d71@news.suddenlink.net>,
"harmony" <aka@hotmail.com> posted:
>
> it is amazing: as little as we know about the ancient hindus, it is still
> overwhelming.
> by contrast more we kow about 3m, sicker we get.
>
> Dr. Jai Maharaj posted:
>
> > Forwarded message from S. Kalyanaraman
> >
> > Indus writing on metal tools and utensils, encodes speech
> >
> > Saturday, December 5, 2009
> >
> > http://sites.google.com/site/induswriting/epigraphs
> >
> > Updated 6 Dec. 2009
> >
> > Indus writing on metal tools and utensils, encodes speech
> >
> >
> http://www.docstoc.com/docs/18615254/Indus-writing-on-utensils-and-metal-tool
> s
> >
> > A hypothesis is that the Indus writing is related to smithy-guild.
> > The hypothesis is validated by reading rebus, the mleccha [milakkhu
> > 'copper' (Pali), cognate meluhha] homonym glosses.
> >
> > The early smith not only invented alloying but also a writing system
> > to create smithy-guild tokens to authenticate the trade transactions
> > over an extensive area extending from Ropar in Sarasvati River basin,
> > Punjab to Ur in Mesopotamia. The trade was the mother of invention;
> > trade necessitated authentication of the smelting, forging, casting,
> > ingot, moulding metalwork using a range of mineral ores. This is the
> > function performed by over 400 pictorial glyphs (so-called signs))
> > and over 100 pictorial motifs (so-called field symbols) of the Indus
> > writing system which encoded mleccha speech (referred to as
> > mlecchitavikalpa by Vatsyayana included in the list of 64 arts in
> > vidyaasamuddesha, objective of vidyaa, education).
> >
> > 1. There are inscriptions on metal tools, evidencing the
> > competence of the smith as a scribe (karNaka, the most-frequently
> > used glyph, which means: rim of jar).
> >
> > 2. There are over 230 copper tablets inscribed with Indus writing
> > (see appended epigraphs), again evidencing the competence of the
> > smith as a scribe.
> >
> > 3. Over 10 metal tools and metal weapons of Kalibangan, Chanhu-
> > daro, Harappa and Mohenjo-daro are inscribed.
> >
> > 4. Mesopotamian texts evidence trade with Meluhha (Sarasvati
> > civilization area) in metals such as gold, silver, copper, tin and
> > alloys such as bronze which are high-value products of the times.
> >
> > 5. The legacy of the Indus mint continues into the historical
> > periods with the vivid use of Indus glyphs on early punch-marked
> > coins (cf. Theobald sign-list of punch-mark signs), Sohgaura copper-
> > plate, Rampurva copper bolt between ca. 6th and 3rd cent. BCE.
> >
> > 6. An average of 5 glyphs (both pictorial motifs and signs) are
> > used on Indus epigraphs. An average of 5 glyphs (both pictorial
> > motifs and signs) are used on punch-marked coins produced by metal-
> > smith-guilds/mints of janapadas (peoples' republics), consistent with
> > the repertoire of early smithy-guilds.
> >
> > 7. The tradition of use of copper tablets to record property/trade
> > transactions and rajashasana continues in India during the historical
> > periods.
> >
> > 8. The cultural continuum is also evidenced by the continued use
> > of cire perdue (lost wax) technique used for making bronze images (as
> > in Mohenjodaro dancing girl) of utsavabera made even today in
> > Swamimalai and other parts of India.
> >
> > 9. Bronze-age iron is evidenced in many archaeological sites and 3
> > sites of Malhar, Lohardewa and Raja-nal-ki-tila on Ganga basin have
> > shown evidence of iron smelters ca. 1800 BCE. The areas of austro-
> > asiatic speakers is correlated with the areas where early mineral-
> > smelting, iron-smelting have been located.
> >
> > 10. The standards of metrology (particulary weights) are used in
> > the civilization contact area (e.g. Magan, Dilmun) as evidenced by
> > the recent archaeological finds of weights and use of Indus writing
> > system in Persian Gulf states. 11. Two pure tin ingots found in a
> > shipwreck at Haifa contained inscriptions using Indus script glyphs.
> > The glyphs have been decoded as tin mineral (ranku dhatu).
> >
> > Dholavira advertisement-board using many glyphs used on metal tool
> > inscriptions, decoding the advertisement-board announcing a variety
> > of metallurgical services. Mesopotamian texts also record trade in
> > 'fish-eyes' [decoded as ka_n. 'iron' nodules; ayo 'fish'; rebus: ayas
> > 'iron' (Skt.)].
> >
> > See: http://www.docstoc.com/docs/18309089/engrave
> >
> > In the Indian tradition, a smithy is also a temple, as evidenced by
> > the gloss: kole.l which means both a smithy and a temple in Kota
> > language. The sanctity of metal work is paralleled by the sanctity of
> > bronze utsava bera [bronze sculptures carried in sacred processions,
> > and worshipped (puja) in homes]. Veneration of ancestors in
> > dhatugarbha (dagoba) or stupas or megalithic circles of stones gains
> > added significance in Indian tradition, by the semantics of the
> > gloss: dhatu. Dhatu means 'mineral' and it also means 'relics'. Both
> > are as sacred as the sacred-fire, the sacred witness-ordainer uniting
> > aatman with the cosmos, aatman with the paramaatman: agnim i_l.e
> > purohitam...
> >
> > On numeral strokes of the script
> >
> > Use of numeral strokes is a distinguishing structural feature of the
> > writing system. See: Decoding of numeric stroke glyphs of Indus
> > script
> >
> > http://www.docstoc.com/docs/18484078/numerals
> >
> > Consistent with this decoding of numeric strokes in general,
> > numerals on metal tools and utensils may be read rebus and may not
> > relate to counting of objects or volumetric or weight measures.
> >
> > An outline is apposite, to start with, on the use and rebus semantics
> > of numeral strokes on metal tools, by reviewing some samples of
> > epigraphs on non-metal objects.
> >
> > http://tinyurl.com/yf2a83r
> >
> > kalibangan 059a shows structural groups of numeral strokes, together
> > with a 'bow' glyph.
> >
> > Mint, workshop (for) native metal, furnace, smithy.
> >
> > kama-t.hiyo = archer; ka-mat.hum = a bow; ka_mad.i_, ka_mad.um = a
> > chip of bamboo (G.) ka_mat.hiyo a bowman; an archer (Skt.lex.) Rebus:
> > kammat.a = portable furnace (Te.) kampat.t.am coiner, mint (Ta.)
> >
> > One short numeral stroke: sal stake, spike, splinter, thorn,
> > difficulty (H.); rebus: sal 'workshop' (Santali)
> >
> > One long numeral stroke with superscripte of two short strokes: kod.a
> > = in arithmetic, one (Santali) Together with pairing sign Sign 99:
> > at.ar a splinter; at.aruka to burst, crack, slit off, fly open;
> > at.arccasplitting, a crack; at.arttuka to split, tear off, open (an
> > oyster)(Ma.); ad.aruni to crack (Tu.)(DEDR 66) Rebus: kod. 'workshop'
> > (G.); aduru 'native metal' (Ka.)
> >
> > The numeral strokes should be read as: 3+2 (non-superscript). kolmo
> > 'three'; rebus: kolimi 'forge' (Te.); dol 'pair'; rebus: dul 'cast'
> > as in dul mer.ed 'cast iron' (Santali). Thus 3+2 are decoded as:
> > forging, casting (smithy)] Vikalpa: pan~ca 'five' (Skt.) pasra
> > 'smithy' (Santali).
> >
> > Read on...
> >
> >
> http://www.docstoc.com/docs/18615254/Indus-writing-on-utensils-and-metal-tool
> s
> >
> > End of forwarded message from S. Kalyanaraman
> >
> > Jai Maharaj, Jyotishi
> > Om Shanti
> >
> > o Not for commercial use. Solely to be fairly used for the
> > educational
> > purposes of research and open discussion. The contents of this post may
> > not
> > have been authored by, and do not necessarily represent the opinion of the
> > poster. The contents are protected by copyright law and the exemption for
> > fair use of copyrighted works.
> > o If you send private e-mail to me, it will likely not be read,
> > considered or answered if it does not contain your full legal name,
> > current
> > e-mail and postal addresses, and live-voice telephone number.
> > o Posted for information and discussion. Views expressed by others
> > are
> > not necessarily those of the poster who may or may not have read the
> > article.
> >
> > FAIR USE NOTICE: This article may contain copyrighted material the use of
> > which may or may not have been specifically authorized by the copyright
> > owner. This material is being made available in efforts to advance the
> > understanding of environmental, political, human rights, economic,
> > democratic, scientific, social, and cultural, etc., issues. It is believed
> > that this constitutes a 'fair use' of any such copyrighted material as
> > provided for in section 107 of the US Copyright Law. In accordance with
> > Title
> > 17 U.S.C. Section 107, the material on this site is distributed without
> > profit to those who have expressed a prior interest in receiving the
> > included
> > information for research, comment, discussion and educational purposes by
> > subscribing to USENET newsgroups or visiting web sites. For more
> > information
> > go to: http://www.law.cornell.edu/uscode/17/107.shtml
> > If you wish to use copyrighted material from this article for purposes of
> > your own that go beyond 'fair use', you must obtain permission from the
> > copyright owner.
> >
> > Since newsgroup posts are being removed
> > by forgery by one or more net terrorists,
> > this post may be reposted several times.
>
>
==============================================================================
TOPIC: DEVADASIS - BHARAT'S LEGENDARY TEMPLE DANCERS *** Jai Maharaj posts
http://groups.google.com/group/rec.arts.movies.local.indian/t/6a02e44a46226db7?hl=en
==============================================================================
== 1 of 2 ==
Date: Mon, Jan 4 2010 4:11 pm
From: "harmony"
devadasi ji ke paay lagoon.
<usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)> wrote in
message news:20091231Y3zLEequ2PNU50407b3R84C@D64P3...
> Hinduism Today: Devadasis - Legendary Temple Dancers
>
> Devadasis
>
> Hinduism Today
> http://www.hinduismtoday.com
> August 1993
>
> India's legendary temple dancers
>
> It is hard to imagine a class of people once so venerated and then so
> dishonored as the devadasis --India's ritual temple artists. For
> millennia, these highly trained performers filled India's temples
> with devotional song and rigorous dance. Then in the early 1900's,
> Christian influence inspired a moral brigade of Anglicized Indians to
> cleanse India of such "backwardness." They branded the devadasi a
> harlot and had her legally outlawed. Few Hindus know this. Fewer
> comprehend how a society that once called her nityasumangali, "the
> ever-auspicious woman," could later chase her into the streets. In a
> three-part series, we will help explain this, identify her Agamic
> origins, detail her duties and discuss controversial efforts to
> "rehabilitate" her.
>
> The devadasi never married in the normal sense. Raised in the temple
> environs under years of rigorous training in classical singing and
> dance, she was ceremonially "wed" to a God or Goddess at about 16.
> She rose before dawn, sang as she lit the temple lamps and danced as
> part of the worship offered to the Deity during pujas, festivals and
> processions. As the priest conducted the puja, she sang devotional
> songs while offering flowers or waving the alankaram lamp. This
> sublime choreography transformed temple ceremonies into beautiful
> spectacles uplifting all the senses as shakti flowed forth from the
> Mahadeva.
>
> In order for her to continue her lineage, the devadasi was encouraged
> to secure a "patron" from the community. He was to be "a religious
> man of good status, taste, wealth and tradition" as it was considered
> important that their offspring be of high-breeding. Respected elders
> in the community often made this choice. Brahmins were commonly
> selected. She could change "patrons" if felt necessary. She never
> cooked for him, stayed at his house or performed routine wifely
> functions. Children born of their alliance were hers and learned
> music and dance. Sons never danced in the temple, but became the
> dance masters, natuvanars, and taught younger girls, who came to look
> upon them like fathers. It was these natuvanars who protected the
> devadasis and saw to their happiness and welfare.
>
> This unique tradition was Hindu society's strategic way of
> guaranteeing the preservation of the classical arts as religious, not
> secular expressions. The devadasi's marriage to the Deity was more
> than a spiritualizing arrangement. It was a practical necessity,
> society felt, because the demands of a female family member --
> daughter, wife or mother -- are so consuming, only someone unmarried
> could commit the time and energies needed to master the classical
> arts. "They could practice and perform all day long and not think
> about anything else," examines Mythili Kumar, a famous contemporary
> dancer, herself trained by a devadasi. "Even if they had some family,
> they didn't have to, or want to, really worry about all that. This is
> so different from the training a girl now gets in India where you
> have to always put family first before the art. Whether that is
> positive or negative depends on how you look at it. It really comes
> down to dedication to the art. For them, the art always came first
> and family came second."
>
> Her Tarnished Image -- an Explanation
>
>
> In Hindu society there were other classes of dancing girls besides
> the devadasis. Much of the negative stigma attached to her comes from
> the chronic misidentification of her with them. There were the famed
> ganikas, highly educated dancer/courtesans such as Ambapali who
> Buddha once dined with. The Muslims spawned a giant class of dancers
> and singers to entertain in their courts. There were also dancers who
> were clearly identified as "public women." Prostitution in ancient
> India was legal and regulated by the state. The state taxed it,
> licensed practioners, monitored their health, kept records and
> policed all involved.
>
> In an effort to debase Hinduism, several Western scholars classed the
> devadasi with these public women. One of the most widely referenced
> encyclopedias on Hinduism in the world, The Hindu World, slanderously
> writes: "The institution of temple harlotry was prevalent in India
> till the end of the last century. Large temples such as those at
> Madura, Conjeeveram and Tanjore were worked like brothels." This
> bizarre idea is based on a temple inscription that simply said
> Tanjore had 400 devadasis.
>
> After the devadasis were banned from the temples, most struggled on
> the fringe of society. Some were driven to unflattering means of
> livelihood -- a fact they suffer with to this day. While the
> government today spasmodically tries to "rehabilitate" them,
> devadasis themselves, and sympathizers, are asking for bolder, more
> creative solutions.
>
> Part II next month
>
> Sidebar: Saride ManikYamma
>
> Interview by Vijay Shankar
>
> Saride Manikyamma was initiated as a child danseuse in two temples in
> Andra Pradesh. She became the most beloved dancer at her temple until
> 1947 when the government banned the devadasi tradition. She struggled
> alone in poverty for 25 years until a dance director found her and
> hired her to teach dance at his institute. Today, Saride leads a
> retired life in Hyderbad. In 1991, she was honored with the
> prestigous Central Sangeete Nataka Akademi Award for her outstanding
> contribution as a danseuse. In this rare interview she speaks about
> her past.
>
> Hinduism Today: Could you tell us about your initiation as a temple
> danseuse?
>
> Saride Manikyamma: I was initiated to the temple of Madana
> Gopalaswamy (Lord Krishna) and Rukmini (Goddess Lakshmi) in
> Ballapadu, at the age of 11. I never realized the significance of
> what I was doing. Being an obedient child, I did what my elders asked
> me to do. My day started with the early morning worship. Commencing
> with the Suprabhatam in the early morning worship 'til the Ekantaseva
> late in the night, I performed several rituals in the temple. Some of
> them had to be performed through dance. In the evenings, there were
> occasional congregations of people when a Deity was worshipped and
> the Asthana Utsavam (sun-setting festival) was performed as an
> offering. This was also a program for entertainment and devotional
> purpose.
>
>
> For many years, my family line has been dedicated to the temple. My
> grandmother, Seshamma, and two paternal aunts, Mutyam and Madhuram,
> were the temple danseuses before me. I learned dance from my
> ancestors but also had other teachers. Rudrabhatla Ramamurthy was the
> original guru of the temple. I studied under him for quite some time.
> Then there was a dispute between him and temple management, and he
> had to go. Another scholar, Purughalla Subbaiah, was appointed as a
> substitute. He was both a musician and a dance scholar. He taught me
> abhinaya, mimetic expression, and the Adhyatma Ramayana.
>
> HT: It is well known that though the temples are closed to devadasis,
> the custom of dedicating girls to Deities still continues in parts of
> India. Many then sing and beg for a living, an almost unrecognizable
> mutation of the original system. The government is now mounting a
> drive against these girls. What is your reaction?
>
> SM: A drive against the devadasi system hardly has any significance.
> What the government should do is to rehabilitate the devadasis by
> providing them with basic needs and vocational help, but moreover
> encourage their artistic talents instead of looking down on them. It
> is not fair to blame the devadasis alone, as society holds equal
> responsibility in the deterioration and degradation of devadasis.
> There are many devadasis who are completely left in the lurch and
> lead a secluded life.
>
> HT: Tell us about the temples you were associated with in Ballapadu?
>
> SM: The two temples stretched over 136 acres. This was truly a rich
> endowment considering those times. The entire income of the temple
> was spent for the Deity only, for the daily and periodical rituals,
> festivals and maintenance of artists, servants, etc. I was the prima
> donna until the endowments were abolished along with the devadasi
> system in the 1930's.
>
> HT: What was the impact on your life?
>
>
> SM: I remember, it was about fifty years ago, suddenly the temple
> staff was dismantled. I had nowhere to go, I felt miserable. We
> fought a losing battle in the courts. The case even reached the high
> court. Finally, I moved to Duvva, another nearby village, after
> selling all my personal property.
>
> HT: How did Dr. Nataraj Ramakrishna spot you?
>
> SM: In 1972, there was a sadassu (convention) convened by Dr. Nataraj
> Ramakrishna (right). All the artists rich in experience in
> traditional arts assembled. I was discovered by him along with many
> others and was brought to Hyderbad. At his institute, I was assigned
> to teach abhinaya. If not for his timely support, I would be leading
> the secluded life of a recluse.
>
> HT: You are an expert in the interpretation of Munipalle Subrahmanya
> Kavi's Adhyatma Ramayana?
>
>
> SM: Yes. It's a ballad form of Ramayana. Written in the 16th century,
> it consists of about 108 songs in which the story of Rama is narrated
> from his birth to his ultimate coronation. Perfect lyrics, the songs
> have classical tunes. Each song has its own substance, culminating in
> a climax. Adhyatma Ramayana became an integral part of the repertoire
> of the numerous temple dancers in Godavari regions.
>
> HT: What has been your reaction on receiving the Sangeeta Nataka
> Akademi Award?
>
> SM: It was all due to the Divine Grace and through Dr. Nataraj
> Ramakrishna who was instrumental in my being able to surface and see
> the world from the seclusion to which I was forced to retire. I was
> not existing at all for the rest of the world until Dr. Nataraj noted
> my presence. But now I have the satisfaction of having passed on my
> knowledge to some students at least, especially my disciple Tara
> Priyadarshini. I am glad that my singing and dance version has been
> recorded by Central Sangeeta Nataka Academy. Today, due to the grace
> of Almighty, I lead a contented life.
>
> Sidebar: Their Talent Persists
>
> Though not widely known, many of India's greatest contemporary
> dancers, singers and instrumentalists are from a devadasi lineage.
> One such artist unashamed of her devadasi lineage is Kishori Amonkar,
> one of India's most extraordinary classical singers. An article on
> her (India Perspectives, 1991, by Rashmee Seghal) candidly revealed
> the prejudice she suffered as a girl:
>
> "Born in Goa in 1931, her mother Moghubhai Murdikar herself a famous
> singer, came from the oppressed stratum of society, the devadasis. So
> although she grew up in an atmosphere of music, Kishori faced many
> privations in her youth. Describing one such incident, she says,
> "Once I was sitting on the parpet of the Someshwar temple in our home
> village Kurdi, when I was rudely a sked to get down from there and
> sit on the step below. Why? I failed to understand. I did not budge.
> Later on I came to know that our low social status automatically
> assigned us to a place a the bottom."
>
> "It is not fair to blame the devadasi alone. Society is equally
> responsible for her present degradation.
>
> The government should provide not only vocational help, but
> encourage her artistic talents instead of looking down on her."
>
> - Saride Manikyamma
>
> End of forwarded article from:
>
> http://www.hinduismtoday.com/1993/8/1993-8-05.html
>
> Jai Maharaj, Jyotishi
> Om Shanti
>
>
> Devadasis, Part II
>
> Hinduism Today
> September 1993
>
> Part I introduced the complex and severely misunderstood tradition of
> the devadasis, Hinduism's ritual temple artists. Four points were
> made: 1) the devadasi was highly trained in music and dance from
> girlhood; 2) at 16, she was ceremoniously "married" to a temple Deity
> and served as a full temple employee; 3) she was permitted a "patron"
> of good bearing from the community; 4) and she was distinct from
> other women who sang solely in palaces and wealthy homes as well as
> the various strata of courtesans high and low.
>
> Despite all the bizzare accounts by mainly Western writers, the
> devadasi temple tradition was not some twisted turn of a patriarchal
> Indian society nor a heartless Hindu institution of "religious
> harlotry." Hardly. Its origins trace deep into the Saiva Agamas
> (circa 1,500 bce), which dignify her as a bonafide ceremonial
> officiant, with specific duties, training and and rules of conduct.
> Both the devadasis and the priests were a part of the subtle, sacred
> task of invoking the shakti, divine energy, of the Mahadeva and
> making it a palpable experience to devotees. The priests employed
> Sanskrit mantras; the devadasis used music, mudra and dance. Both
> regarded themselves as "temple servants." They carried an attitude of
> humble self-respect, joyfully filling an occupation that garnered
> little worldly reward. Their deepest fulfillment was completely
> inner.
>
> The Kamikagama describes many categories of female ritual temple
> artists, including the Rudraganika, Rudrakkannikai and the Rudradasi.
> Contemporary high priest Sadyojatasivacharya summarizes from Agamic
> passages: "The Rudraganika should wear her hair in a knot above the
> collar bone; her waist should be adorned by a saffron cloth. She
> should wear the Siva mark of three stripes of holy ash and the
> rudraksha as the sole ornament. She should wear a silken blouse. The
> acharya gives her Sivadiksha (initiation) and teaches her the
> Panchakshara Mantram and ties on her the golden sign of the linga
> onto her wedding pendant. For all three [ganikas] after the bottu
> (lingam) has been tied, it is necessary for her to peform nrittnam,
> pure dance. If this is done with lust, or otherwise, the king and
> country will be destroyed."
>
> Other sects, Sakta and Vaishnavite, scripturally sanctioned and
> adopted the devadasi tradition. To her village, she was considered a
> "harbinger of auspiciousness," a true embodiment of the Deity.
> Devotees invited devadasis to private homes on auspicious occasions,
> especially weddings. Here they were worshiped and then asked to sing
> and bless. They went in groups of two or more, never alone. One Puri
> Temple retired devadasi relates: "People used to take sand from our
> door [as a blessing] and bangles from our hands to give to their
> daughters. But today, people think sinfully about us and [don't do
> this anymore]."
>
> The devadasi's schedule was highly routine. She performed daily, or
> more infrequently if many were attached to her temple. She lived in
> her own small house, alone, on temple lands, and ate both temple
> prashadam and cooked for herself. She rose before dawn, performed her
> personal worship and arrived at the temple with the priests. She
> sang, lit lamps and danced generally in two different locations --
> right before the inner sanctum and also at smaller shrines in outer
> mandapams (halls) where devotees were uplifted by her sublime
> worship. At other times, she performed in festival processions and
> part of dance dramas that continued around the year keeping Hindu
> teachings and stories alive. In the evening, she sang but only the
> most honored "inner division devasasis" performed at the close of the
> final evening puja, waving the last arati. Some learned and played
> the flute and veena.
>
> Her "Private" Life -- Fact Versus Fabrication
>
> Nothing has so hypnotized the prurient imagination of Western writers
> than the devadasi's "private" life. French missionary Abbé Dubois
> seeded a breeding nest of vilification with his baseless statement
> circa 1800: "Once the devadasis' temple duties are over, they open
> their cells of infamy, and frequently convert the temple itself into
> a stew. A religion more shameful or indecent has never existed
> amongst a civilized people." Other Western writers further
> fictionalized this warped portrait. By the early 1900's, an élite
> group of Anglicized Indians, brainwashed by decades of Christian
> moralizing -- along with a party of avowed anti-Hindu atheists -- led
> fierce campaigns against temple dancing. Several unusually courageous
> devadasis such as Balasarawati (left) and stalwart brahmin
> sympathizer E. Krishna Iyer fought against the zealous "reformers."
> But to no avail. The temples were legally "cleansed" in late 1947.
> (See side bar.) The sacred art form was frantically and awkwardly
> passed on to high-caste brahmin girls to learn and then perform as
> "high" secular entertainment, like ballet, where it stands today.
>
> Ironically the dismantling of the devadasi tradition only fueled an
> even more radical rural religious practice. In this, girls are "wed"
> to a God or Goddess, but with no temple to serve in. Often called
> jogtis, (or, confusingly, devadasis by the Indian press) they carry
> an image of the Deity and worship it daily. Considered "auspicious,"
> they beg at five homes a day and are openly "public women," with
> rural society's religious sanction. State governments have banned the
> practice and are desperately trying to eradicate it.
>
> During 1975-1981 Frédérique Marglin, an anthropologist who studied
> Indian dance, visited India and befriended the last remaining temple
> devadasis of the Jagannath Temple at Puri. Her remarkable 400-page
> sober and sensitive account of their tradition, Wives of the
> God/King, faithfully retrieves one of the clearest pictures of the
> original devadasi tradition in all its complexity.
>
> The Puri devadasis repeatedly told Marglin that fraternizing with
> "outsiders," (pilgrims) was strictly taboo. If they had "relations"
> with a temple devotee, they were dismissed. However, they shared
> something that was common knowledge amongst temple brahmin families
> but to few others. In the words of Radha, a Puri devadasi: "It is a
> custom for us to keep relations with a brahmin temple servant, but
> never with 'outsiders.' Why should I hide these things? When I had my
> puberty, I exchanged garlands with this priest [a widower] in whose
> brother's house I live and I have lived within the boundaries of that
> relationship always." The Puri devadasis explained that they grew up
> with the priests and felt a natural closeness to them as both had
> dedicated their lives to being temple servants. The brahmins' wives
> were fully aware of these "second wife" situations. Until "reformers"
> came, they were never a moral concern. The sinfulness Christians
> attached to non-monogamous marital arrangements was not yet known.
> For years, the devadasis feared revealing this area, painfully aware
> that already they were considered prostitutes by educated society.
> Now, demoralized and disbanded, they feel they have nothing to lose
> in confiding everything, for they have nothing left, except a
> hauntingly deep love of devotional song and dance.
>
> Part III will include interviews with famous contemporary dancers,
> including Mrinalini Sarabhai, Ratna Kumar and Vidya Sridhar.
>
> The Law that Damned Dance
>
> The sun rose bright over Madras on January 27th, 1948. It seemed to
> be an everyday morning. But when the Fort St. George Gazette hit the
> streets, there were cries --cheers and tears. The legal section
> carried the long-expected decree -- The Madras Devadasis Act XXXI,
> (reproduced in part):
>
> "Dancing by a woman, with or without kumbhaharathy (pot-shaped temple
> arati lamp), in the precincts of a temple or other religious
> institution, or in any procession of a Hindu deity, idol or object of
> worship installed in any such temple or institution or at any
> festival or ceremony held in respect of such a deity, idol or object
> of worship, is hereby declared unlawful... Any person who performs,
> permits or abets [temple dancing] is punishable with imprisonment
> for... six months.
>
> A woman who takes part in any dancing or music performance... is
> regarded as having adopted the life of prostitution and becomes
> incapable of entering into a valid marriage and... th e performance
> of any [marriage] ceremony... whether [held] before or after this Act
> is hereby declared unlawful and void."
>
> From that day onward, 35,000 temples of Tamil Nadu barred all women
> performers, devadasis or not. Most had already. Today, Indian girls
> perform Hinduism's sacred dances in high school basketball gyms,
> rented Christian community centers and hotel dance halls. The temples
> meanwhile are void of devotional song and dance, except occasional
> tourist shows like at Khajarao.
>
> Amrapalli of Puri
>
> Amrapalli was a dancer/singer in Puri's Jagannath Temple and began in
> her early teens. In her mid-twenties, the local king suddenly
> banished her from the temple. She says it was because she refused his
> royal order to bed with him (a king's right, exercised for
> centuries). Others said it was because she lived for a period in
> Calcutta with her "patron," breaking the rule that devadasis never
> leave their temple's town.
>
> Amrapalli broke another rule, one of the first to do so. When she saw
> her tradition being trampled into ruin by the "anti-dance" reformers,
> she trained her four adopted daughters in music and dance, but
> married them to high caste husbands (including one brahmin), instead
> of dedicating them as devadasis. The fourth she married to a
> devadasi's son. He became an Orissi dancer and now teaches at a dance
> school.
>
> Amrapalli came from the karana caste, hereditary temple scribes, and
> was dedicated to the temple at age 9 by her mother. She was highly
> trained, studied literature, wrote poetry, was considered very
> beautiful, danced inspirationally and had an unusually sweet,
> devotional voice.
>
> "[The 'reformers'] say I was just a concubine of [my patron]. But he
> was also one of my gurus. Sometimes, he even worshiped me as a
> devotee, giving me sandalpaste and flowers and doing puja to me. He
> was very religious and built a shrine and a hospital."
>
> As of 1982, Amrapalli was happy, living alone and associating closely
> with a Vaishnavite monastery in Puri, worshiping and attending talks
> by sadhus.
>
> End of forwarded article from:
>
> http://www.hinduismtoday.com/1993/9/1993-9-12.html
>
> Jai Maharaj, Jyotishi
> Om Shanti
>
>
> Devadasis
>
> Hinduism Today
> December 1993
>
> Outlawed as Harlots
>
> Parts One and Two of our 4-part series introduced India's legendary
> ritual temple artists, the Devadasis. Part Three-drawn extensively
> from Kay Jordan's unusual study "From Sacred Servant to Profane
> Prostitute-The Changing Legal Status of the Devadasis: 1857-1947"-
> examines the complex saga of how, in a land where God is worshiped as
> a dancer, dance became a sin.
>
> As the East India Company's 17th century "looting spree" turned into
> permanent business by the 1800's-"bleeding India, judiciously," as
> British Prime Minister Salisbury coolly decreed-waves of Christian
> preachers and teachers were dispatched to Anglicize the "savages."
> Vicious in their ridicule of Hinduism, the missionaries won converts
> amongst the Indian élite who were quick to adopt novel European ideas
> and eager for social acceptance by those in power. Gradually the
> seeds of cultural shame were sown and an Indian clone of British
> mentality successfully bred. From then onwards, the most effective
> critics of Hindu tradition were Indians themselves. By the late
> 1800's, a reform movement was in full bloom comprised of
> "missionaries, doctors, journalists and [Indian] social workers
> heavily influenced by Christian morality and religion," notes social
> historian Amrit Srinivasan. "Civilizing the Indians through enforcing
> a uniform adoption of the Victorian ethic for women" became a central
> goal of the reformers. And the Devadasi tradition-with its custom of
> allowing her an alliance with a respectable "patron" in the
> community-stood out as the most ungodly, un-Christian violation. "An
> insult to womanhood," reformers indignantly fumed, and insisted on
> "the imported conjugal monogamous ideal for women as the only code of
> conduct permissble for all Indian women," Srinivasan further
> examines.
>
> Devadasis in Court
>
> The earliest court cases involving devadasis appear in the1860's-
> mostly petty grievances with temple management over the devadasis'
> temple land grants and their selection rights regarding new
> devadasis. A statement by Bombay's Chief Justice Holloway in 1864
> typifies Britain's cautious legal policy of avoiding, whenever
> possible, any legislation on matters of Hindu religion that might
> inflame the Hindu populace. He wrote:"This [devadasi custom] is not
> at variance with Hindu law; our courts are therefore bound to
> administer to them that law, uninfluenced by a fastidiousness founded
> upon Western views of morality." Social activists however insisted
> that girls dedicated to temples were inducted into lives of
> prostitution and demanded the courts ban the practice. (The Indian
> Penal Code, established in 1861, allowed for prostitution but made
> "trafficking" illegal.) Pressured by an Indian élite who felt
> embarrassed by a tradition that Westerners had convinced them
> "violated international 'moral' standards," the Central Government in
> 1872 requested an official report from each of its provinces on the
> extent and nature of its devadasi tradition as well as the Hindu
> public's opinion relating thereto.
>
> The Governor General of Madras responded: "It seems to be the most
> general opinion that dancing girls are necessary adjuncts to the
> Hindu ritual and that also their attendance on private families is
> customary and necessary on many domestic occasions. That to legislate
> with the intention of the gradual extinction of the dancing girl
> caste would be viewed with extreme dislike by the great majority of
> Hindus." Bombay agreed and penned: "There would be no advantage to
> interfere in long established usages in this respect which are in a
> great measure founded on the religious tenets of the people."
> Trichy's District Magistrate replied: "These girls, by definite title
> or by prescription, occupy a defined position and perform defined
> duties in Hindu temples and from that point of view, their services
> must be considered lawful and necessary and are also recognized by
> the Civil Courts as being so." Sholapur Collector A.F. Maconochie
> expressed that the dancing girls should be tolerated because if they
> were outlawed, they would be abused. "Private [Hindu] people would be
> unwilling to receive them, and there are no public institutions in
> India for their reception. The [Christian] Missions, of course, would
> take them in, with the object of making Christians of them. But as
> the mass of Indian public look on change of religion, especially the
> adoption of Christianity, as a far worse sin than prostitution, the
> change would stir up very bitter religious opposition, and be
> interpreted as a practical propagation of Christianity by the
> government." H.C. Mules, Karachi district magistrate, answered:
> "However objectionable the lives of the girls may be in our eyes, it
> does not appear they follow their calling under pressure, and are not
> looked upon as outcasts or regarded so by their co religionists."
>
> Britain's Home Secretary responded to the reformers' argument that
> dedicating girls without their consent was cruel: "In India, females
> of disposed of one way or another, long before age 16; whether their
> volition has or has not matured by that age is not very material
> since they seldom are allowed to exercise it at any time."
>
> After judicious review, the Central Government concluded that
> regardless the extent of alleged sexual excesses it perhaps
> encompassed, the devadasi tradition was nevertheless a bonafide Hindu
> custom and that existent "trafficking" laws provided adequate
> protection by forbidding girls under 16 to be given or kept for the
> proven express purpose of prostitution. But, as reformist zeal
> mounted, some judges showed less restraint. In 1880, Justice West of
> Bombay called the temple dancer tradition of his precinct a
> "manifestly evil tendency, essentially vicious" and denied devadasis
> protection under all civil law. Madras High Judge Muttusami Ayyar
> objected: "Whatever may be the change in the sentiments of Hindus in
> regard to the dancing women in Bombay and Poona, I am unable to say
> that there is considerable change in this presidency in the general
> mass of the Hindu community as contra-distinguished from a
> comparatively small section that has come under the influence of
> Western culture."
>
> But continuing pressure and "criticism of the court's recognition of
> the devadasis and their customs from England and from both Indian and
> missionary social reform organizations demanded the British Indian
> government take action," notes author Kay Jordan.
>
> In 1912, legislation to "protect female minors"-aimed at banning the
> devadasi system-was again introduced by a Parsi and a Hindu, Mr.
> Mudholkar. Mudholkar presumed: "Neither Hinduism as now practiced,
> nor Hinduism as it was inculcated by our rishis, recognized this
> [devadasi system]. It was to them a most abhorrent thing." Moral
> indignation voiced by the male sector of Hindu society was new.
> Associate Professor of Asian Studies at Mt. Holyoke College Dr.
> Indira Viswanathan Peterson explains this phenomenon: "In reaction to
> the British, Indians acted in two contradictory ways: they became
> great reformers; but also suppressed some of the more erotic and
> sexually liberated aspects of women's culture, thus turning Indian
> society more rigid and conservative. Devadasis, or temple dancers,
> were now considered obscene prostitutes, whereas earlier they were
> not. This was because Indian men had to prove to the British that
> they were moral, moral in a Christian, Victorian sort of way."
>
> All along, the central question of alleged prostitution, or a degree
> thereof, within the devadasi tradition remained a blur. The Madras
> Legislature wrote in 1924: "We have not definitely assumed that
> employment as a devadasi is equivalent to employment for purposes of
> prostitution." The Central Government generally concurred: "Even if
> it is true in many instances that temple dedication is synonymous, in
> practice, with prostitution, we should hesitate to make a legal
> declaration to that effect, so long as this was not admitted by
> Hindus generally." It then advised Bombay and Madras to strengthen
> prostitution trafficking laws and to encourage their ladies'
> vigilante associations as such rather than outlaw devadasis.
>
>
> Then in 1929, a brahmin woman and member of the legislature, Dr.
> Muthulakshmi Reddy, launched a furious anti-nautch (dance) campaign,
> demanding wholesale demolition of the devadasi system-a "revolting
> custom, calling for immoral trade of women," she raged. "The
> dharmakarthars [temple heads] and general illiterate public imagine
> that the Gods in the temple want these dasis for service!" she added.
> "The Gods in the temple do not want any dancing or music," thundered
> a Mr. K. R. Karant, a Hindu. "It is a sacrilege to say that religion
> requires all this nonsense."
>
>
> "Don't Exterminate Us!" Throughout the 60-years of legal assault
> against them, the devadasis remained silent. But Dr. Reddy scared
> them out of that shy profile. Overnight, scores of hand-writtenpleas
> and protests-personally signed by devadasis-poured into the Madras
> Legislature. One stood out. It was signed by the "Deputation of the
> devadasis of the Presidency of Madras" and "Devadasi association of
> the Tinnevelly District." In eloquent language, they pleaded for
> their survival. They denied being harlots, and lamented this cruel
> stigma attached to them. They confessed a minor degree of
> prostitution had crept into their society and sincerely invited that
> such women be dealt with in accordance with existing laws. They
> maintained: "Our institution is similar to the mutts presided by
> sanyasis for the propagation of religion. We can be compared to
> female sanyasis who are attached to respective temples. We marry none
> but God and become devotees of God." "They described themselves,"
> writes Kay Jordan, as "guardian angels of dance and music with a
> devotion that bears comparison with the ardor of the pundits reading
> Vedas in preference to modern pursuits." They quoted the Saiva Agamas
> to substantiate their scriptural origins-"Shiva said: 'To please me
> during my puja, arrangements must be made daily for shudda nritta
> (dance). This should be danced by females born of such families and
> the five acharyas should form the accompaniments.' Since these Agamas
> are revered by every Hindu, however modern and educated they are,
> what reason can there be for our community not to thrive and exist as
> necessary adjuncts of temple service?" They averred Dr. Reddy's
> proposed abolition of their tradition punished the many for actions
> of a few, and painfully assessed: "In proposing this legislation, the
> legislators attempt to do away for ever with our sect. Such
> legislation is unparalleled in the civilized world."
>
>
> They asked for more soulful training: "Give us education-religious,
> literary and artistic-so we will occupy once again the same rank
> which we held in the past. Teach us the Thevarams of the Saivite
> saints and the Nalayaram of the Vaishnavite acharyas. Instill into us
> the Gita and the beauty of the Ramayana and explain to us the Agamas
> and the rites of worship." This would, they argued, inspire devadasi
> girls to model themselves after female saints like "Maitreyi, Gargi
> and Manimekalai and the women singers of the Vedas that we might once
> again become the preachers of morality and religion... You who boast
> of your tender love for small communities, we pray that you may allow
> us to live and work out our salvation and manifest ourselves in jnana
> and bhakti and keep alight the torch of India's religion amidst the
> fogs and storms of increasing materialism and interpret the message
> of India to the world."
>
> Despite fervent protests by E. Krishna Iyer and a"pro-art" Madras
> contingent-Dr. Reddy and her Anglicized women's leagues prevailed.
> Crippling legislation passed against the devadasis in 1927, followed
> by total abolition in 1947 [Hinduism Today, Sept. '93]. Dance was
> relegated to a secular art, renamed Bharata Natyam, and then adopted,
> restylized and nurtured by mostly married women of the brahmin caste.
>
>
> Part IV includes messages from famous dancers as well as an
> explanation of the current rationale of the Anti-Nautch Law from a
> Tamil Nadu government spokesperson.
>
> End of forwarded article from:
>
> http://www.hinduismtoday.com/1993/12/1993-12-13.html
>
> Jai Maharaj, Jyotishi
> Om Shanti
>
>
> Temple Dancers
>
> By Bhadra Sinha
> Letters to the Editor
> Hinduism Today
> June 1994
>
> Your coverage on Devadasis [August, September, December, 1993 and
> January, 1994] was really informative for talented new dancers.
> Devadasis were those who dedicated their lives to their dance not for
> money but only because it was a medium through which they could
> worship God. Dance, especially classical Indian dance, was given by
> Lord Shiva (Tandava) and by Goddess Parvati (Lasya). Devadasis
> performed this dance for God, but their dance was appreciated by
> people too. People used to come to the temple for puja and also saw
> the dance. Because they appreciated the dance, this does not mean
> that it should be done for their entertainment.
>
> Dancers should continue to maintain the dignity of dance by keeping
> it a medium for worshiping-they should not commercialize it. Dancers
> should have the temple as the stage for their dance.
>
> Bhadra Sinha, New Delhi, India
>
> Source - http://www.hinduismtoday.com/1994/6/1994-6-06.html
>
>
> An Era of Renaissance
>
> By Rishi K. Agarwal
> Letters to the Editor
> Hinduism Today
> June 1994
>
> It's a matter of great satisfaction that such a very useful forum
> [Hinduism Today] has been functioning for the last sixteen years-
> bringing together the Hindus spread all over the world to communicate
> with each other on matters relating to this great religion and
> spiritualism. I hope that this will usher in an era of renaissance in
> Hinduism worldwide. It's highly gratifying to note that basic tenets
> of Hinduism have percolated down to the grass-root levels in the
> Western world, which has certainly opened its eyes and ears to the
> spiritual teachings and moral principles of our saints and sages who
> had dedicated their lives for the good of mankind.
>
> I am amazed by the clarity of understanding and appreciation of a
> complex Hindu tradition such as Devadasis shown by Prof. Teresa Hubel
> [January, 1994]. I am yet to find such a positive, sensible and
> illuminating approach from a co-religionist.
>
> You have given important information on what Hindus are trying to do
> in many corners of the world. Accomplishing such a hazardous task is
> certainly a wonderful show of immense dedication, sincerity of
> purpose and total commitment to what you believe in.
>
> Rishi K. Agarwal, Orissa, India
>
> Source - http://www.hinduismtoday.com/1994/6/1994-6-06.html
>
>
> Devadasis Forever
>
> By Richard Morey
> Letters to the Editor
> Hinduism Today
> December 1993
>
> Your series of articles about the "Devadasis-India's legendary temple
> dancers," is deeply appreciated by everyone here at the society of
> Abidance in Truth. We applaud and heartily encourage such excellent
> "spiritual journalism." Our ashram maintains a regular schedule of
> Indian spiritual cultural events featuring Indian musicians, singers
> and dancers. Yes, we do invite into our temple traditional Indian
> dancing, such as bharata natyam and other forms. We have found these
> events to be quite spiritually inspiring for our members and guests,
> and the dancers are always deeply touched by performing in such a
> holy setting.
>
> Richard Morey, General Manager Society of Abidance in Truth Santa
> Cruz, CA
>
> Source - http://www.hinduismtoday.com/1993/12/1993-12-22.html#gen261
>
> End of forwarded articles from Hinduism Today
> http://www.hinduismtoday.com
>
> Jai Maharaj, Jyotishi
> Om Shanti
>
> o Not for commercial use. Solely to be fairly used for the
> educational
> purposes of research and open discussion. The contents of this post may
> not
> have been authored by, and do not necessarily represent the opinion of the
> poster. The contents are protected by copyright law and the exemption for
> fair use of copyrighted works.
> o If you send private e-mail to me, it will likely not be read,
> considered or answered if it does not contain your full legal name,
> current
> e-mail and postal addresses, and live-voice telephone number.
> o Posted for information and discussion. Views expressed by others
> are
> not necessarily those of the poster who may or may not have read the
> article.
>
> FAIR USE NOTICE: This article may contain copyrighted material the use of
> which may or may not have been specifically authorized by the copyright
> owner. This material is being made available in efforts to advance the
> understanding of environmental, political, human rights, economic,
> democratic, scientific, social, and cultural, etc., issues. It is believed
> that this constitutes a 'fair use' of any such copyrighted material as
> provided for in section 107 of the US Copyright Law. In accordance with
> Title
> 17 U.S.C. Section 107, the material on this site is distributed without
> profit to those who have expressed a prior interest in receiving the
> included
> information for research, comment, discussion and educational purposes by
> subscribing to USENET newsgroups or visiting web sites. For more
> information
> go to: http://www.law.cornell.edu/uscode/17/107.shtml
> If you wish to use copyrighted material from this article for purposes of
> your own that go beyond 'fair use', you must obtain permission from the
> copyright owner.
>
> Since newsgroup posts are being removed
> by forgery by one or more net terrorists,
> this post may be reposted several times.
== 2 of 2 ==
Date: Mon, Jan 4 2010 4:36 pm
From: usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)
Indeed, that's an important component of the pooja. In the absence of
a genuine devadasi, a period of meditation focused on one is
recommended substitute.
Jai Maharaj, Jyotishi
Om Shanti
In article <4b4283c0$0$5325$bbae4d71@news.suddenlink.net>,
"harmony" <aka@hotmail.com> posted:
>
> devadasi ji ke paay lagoon.
> Dr. Jai Maharaj posted:
>
> > Hinduism Today: Devadasis - Legendary Temple Dancers
> >
> > Devadasis
> >
> > Hinduism Today
> > http://www.hinduismtoday.com
> > August 1993
> >
> > India's legendary temple dancers
> >
> > It is hard to imagine a class of people once so venerated and then so
> > dishonored as the devadasis --India's ritual temple artists. For
> > millennia, these highly trained performers filled India's temples
> > with devotional song and rigorous dance. Then in the early 1900's,
> > Christian influence inspired a moral brigade of Anglicized Indians to
> > cleanse India of such "backwardness." They branded the devadasi a
> > harlot and had her legally outlawed. Few Hindus know this. Fewer
> > comprehend how a society that once called her nityasumangali, "the
> > ever-auspicious woman," could later chase her into the streets. In a
> > three-part series, we will help explain this, identify her Agamic
> > origins, detail her duties and discuss controversial efforts to
> > "rehabilitate" her.
> >
> > The devadasi never married in the normal sense. Raised in the temple
> > environs under years of rigorous training in classical singing and
> > dance, she was ceremonially "wed" to a God or Goddess at about 16.
> > She rose before dawn, sang as she lit the temple lamps and danced as
> > part of the worship offered to the Deity during pujas, festivals and
> > processions. As the priest conducted the puja, she sang devotional
> > songs while offering flowers or waving the alankaram lamp. This
> > sublime choreography transformed temple ceremonies into beautiful
> > spectacles uplifting all the senses as shakti flowed forth from the
> > Mahadeva.
> >
> > In order for her to continue her lineage, the devadasi was encouraged
> > to secure a "patron" from the community. He was to be "a religious
> > man of good status, taste, wealth and tradition" as it was considered
> > important that their offspring be of high-breeding. Respected elders
> > in the community often made this choice. Brahmins were commonly
> > selected. She could change "patrons" if felt necessary. She never
> > cooked for him, stayed at his house or performed routine wifely
> > functions. Children born of their alliance were hers and learned
> > music and dance. Sons never danced in the temple, but became the
> > dance masters, natuvanars, and taught younger girls, who came to look
> > upon them like fathers. It was these natuvanars who protected the
> > devadasis and saw to their happiness and welfare.
> >
> > This unique tradition was Hindu society's strategic way of
> > guaranteeing the preservation of the classical arts as religious, not
> > secular expressions. The devadasi's marriage to the Deity was more
> > than a spiritualizing arrangement. It was a practical necessity,
> > society felt, because the demands of a female family member --
> > daughter, wife or mother -- are so consuming, only someone unmarried
> > could commit the time and energies needed to master the classical
> > arts. "They could practice and perform all day long and not think
> > about anything else," examines Mythili Kumar, a famous contemporary
> > dancer, herself trained by a devadasi. "Even if they had some family,
> > they didn't have to, or want to, really worry about all that. This is
> > so different from the training a girl now gets in India where you
> > have to always put family first before the art. Whether that is
> > positive or negative depends on how you look at it. It really comes
> > down to dedication to the art. For them, the art always came first
> > and family came second."
> >
> > Her Tarnished Image -- an Explanation
> >
> >
> > In Hindu society there were other classes of dancing girls besides
> > the devadasis. Much of the negative stigma attached to her comes from
> > the chronic misidentification of her with them. There were the famed
> > ganikas, highly educated dancer/courtesans such as Ambapali who
> > Buddha once dined with. The Muslims spawned a giant class of dancers
> > and singers to entertain in their courts. There were also dancers who
> > were clearly identified as "public women." Prostitution in ancient
> > India was legal and regulated by the state. The state taxed it,
> > licensed practioners, monitored their health, kept records and
> > policed all involved.
> >
> > In an effort to debase Hinduism, several Western scholars classed the
> > devadasi with these public women. One of the most widely referenced
> > encyclopedias on Hinduism in the world, The Hindu World, slanderously
> > writes: "The institution of temple harlotry was prevalent in India
> > till the end of the last century. Large temples such as those at
> > Madura, Conjeeveram and Tanjore were worked like brothels." This
> > bizarre idea is based on a temple inscription that simply said
> > Tanjore had 400 devadasis.
> >
> > After the devadasis were banned from the temples, most struggled on
> > the fringe of society. Some were driven to unflattering means of
> > livelihood -- a fact they suffer with to this day. While the
> > government today spasmodically tries to "rehabilitate" them,
> > devadasis themselves, and sympathizers, are asking for bolder, more
> > creative solutions.
> >
> > Part II next month
> >
> > Sidebar: Saride ManikYamma
> >
> > Interview by Vijay Shankar
> >
> > Saride Manikyamma was initiated as a child danseuse in two temples in
> > Andra Pradesh. She became the most beloved dancer at her temple until
> > 1947 when the government banned the devadasi tradition. She struggled
> > alone in poverty for 25 years until a dance director found her and
> > hired her to teach dance at his institute. Today, Saride leads a
> > retired life in Hyderbad. In 1991, she was honored with the
> > prestigous Central Sangeete Nataka Akademi Award for her outstanding
> > contribution as a danseuse. In this rare interview she speaks about
> > her past.
> >
> > Hinduism Today: Could you tell us about your initiation as a temple
> > danseuse?
> >
> > Saride Manikyamma: I was initiated to the temple of Madana
> > Gopalaswamy (Lord Krishna) and Rukmini (Goddess Lakshmi) in
> > Ballapadu, at the age of 11. I never realized the significance of
> > what I was doing. Being an obedient child, I did what my elders asked
> > me to do. My day started with the early morning worship. Commencing
> > with the Suprabhatam in the early morning worship 'til the Ekantaseva
> > late in the night, I performed several rituals in the temple. Some of
> > them had to be performed through dance. In the evenings, there were
> > occasional congregations of people when a Deity was worshipped and
> > the Asthana Utsavam (sun-setting festival) was performed as an
> > offering. This was also a program for entertainment and devotional
> > purpose.
> >
> >
> > For many years, my family line has been dedicated to the temple. My
> > grandmother, Seshamma, and two paternal aunts, Mutyam and Madhuram,
> > were the temple danseuses before me. I learned dance from my
> > ancestors but also had other teachers. Rudrabhatla Ramamurthy was the
> > original guru of the temple. I studied under him for quite some time.
> > Then there was a dispute between him and temple management, and he
> > had to go. Another scholar, Purughalla Subbaiah, was appointed as a
> > substitute. He was both a musician and a dance scholar. He taught me
> > abhinaya, mimetic expression, and the Adhyatma Ramayana.
> >
> > HT: It is well known that though the temples are closed to devadasis,
> > the custom of dedicating girls to Deities still continues in parts of
> > India. Many then sing and beg for a living, an almost unrecognizable
> > mutation of the original system. The government is now mounting a
> > drive against these girls. What is your reaction?
> >
> > SM: A drive against the devadasi system hardly has any significance.
> > What the government should do is to rehabilitate the devadasis by
> > providing them with basic needs and vocational help, but moreover
> > encourage their artistic talents instead of looking down on them. It
> > is not fair to blame the devadasis alone, as society holds equal
> > responsibility in the deterioration and degradation of devadasis.
> > There are many devadasis who are completely left in the lurch and
> > lead a secluded life.
> >
> > HT: Tell us about the temples you were associated with in Ballapadu?
> >
> > SM: The two temples stretched over 136 acres. This was truly a rich
> > endowment considering those times. The entire income of the temple
> > was spent for the Deity only, for the daily and periodical rituals,
> > festivals and maintenance of artists, servants, etc. I was the prima
> > donna until the endowments were abolished along with the devadasi
> > system in the 1930's.
> >
> > HT: What was the impact on your life?
> >
> >
> > SM: I remember, it was about fifty years ago, suddenly the temple
> > staff was dismantled. I had nowhere to go, I felt miserable. We
> > fought a losing battle in the courts. The case even reached the high
> > court. Finally, I moved to Duvva, another nearby village, after
> > selling all my personal property.
> >
> > HT: How did Dr. Nataraj Ramakrishna spot you?
> >
> > SM: In 1972, there was a sadassu (convention) convened by Dr. Nataraj
> > Ramakrishna (right). All the artists rich in experience in
> > traditional arts assembled. I was discovered by him along with many
> > others and was brought to Hyderbad. At his institute, I was assigned
> > to teach abhinaya. If not for his timely support, I would be leading
> > the secluded life of a recluse.
> >
> > HT: You are an expert in the interpretation of Munipalle Subrahmanya
> > Kavi's Adhyatma Ramayana?
> >
> >
> > SM: Yes. It's a ballad form of Ramayana. Written in the 16th century,
> > it consists of about 108 songs in which the story of Rama is narrated
> > from his birth to his ultimate coronation. Perfect lyrics, the songs
> > have classical tunes. Each song has its own substance, culminating in
> > a climax. Adhyatma Ramayana became an integral part of the repertoire
> > of the numerous temple dancers in Godavari regions.
> >
> > HT: What has been your reaction on receiving the Sangeeta Nataka
> > Akademi Award?
> >
> > SM: It was all due to the Divine Grace and through Dr. Nataraj
> > Ramakrishna who was instrumental in my being able to surface and see
> > the world from the seclusion to which I was forced to retire. I was
> > not existing at all for the rest of the world until Dr. Nataraj noted
> > my presence. But now I have the satisfaction of having passed on my
> > knowledge to some students at least, especially my disciple Tara
> > Priyadarshini. I am glad that my singing and dance version has been
> > recorded by Central Sangeeta Nataka Academy. Today, due to the grace
> > of Almighty, I lead a contented life.
> >
> > Sidebar: Their Talent Persists
> >
> > Though not widely known, many of India's greatest contemporary
> > dancers, singers and instrumentalists are from a devadasi lineage.
> > One such artist unashamed of her devadasi lineage is Kishori Amonkar,
> > one of India's most extraordinary classical singers. An article on
> > her (India Perspectives, 1991, by Rashmee Seghal) candidly revealed
> > the prejudice she suffered as a girl:
> >
> > "Born in Goa in 1931, her mother Moghubhai Murdikar herself a famous
> > singer, came from the oppressed stratum of society, the devadasis. So
> > although she grew up in an atmosphere of music, Kishori faced many
> > privations in her youth. Describing one such incident, she says,
> > "Once I was sitting on the parpet of the Someshwar temple in our home
> > village Kurdi, when I was rudely a sked to get down from there and
> > sit on the step below. Why? I failed to understand. I did not budge.
> > Later on I came to know that our low social status automatically
> > assigned us to a place a the bottom."
> >
> > "It is not fair to blame the devadasi alone. Society is equally
> > responsible for her present degradation.
> >
> > The government should provide not only vocational help, but
> > encourage her artistic talents instead of looking down on her."
> >
> > - Saride Manikyamma
> >
> > End of forwarded article from:
> >
> > http://www.hinduismtoday.com/1993/8/1993-8-05.html
> >
> > Jai Maharaj, Jyotishi
> > Om Shanti
> >
> >
> > Devadasis, Part II
> >
> > Hinduism Today
> > September 1993
> >
> > Part I introduced the complex and severely misunderstood tradition of
> > the devadasis, Hinduism's ritual temple artists. Four points were
> > made: 1) the devadasi was highly trained in music and dance from
> > girlhood; 2) at 16, she was ceremoniously "married" to a temple Deity
> > and served as a full temple employee; 3) she was permitted a "patron"
> > of good bearing from the community; 4) and she was distinct from
> > other women who sang solely in palaces and wealthy homes as well as
> > the various strata of courtesans high and low.
> >
> > Despite all the bizzare accounts by mainly Western writers, the
> > devadasi temple tradition was not some twisted turn of a patriarchal
> > Indian society nor a heartless Hindu institution of "religious
> > harlotry." Hardly. Its origins trace deep into the Saiva Agamas
> > (circa 1,500 bce), which dignify her as a bonafide ceremonial
> > officiant, with specific duties, training and and rules of conduct.
> > Both the devadasis and the priests were a part of the subtle, sacred
> > task of invoking the shakti, divine energy, of the Mahadeva and
> > making it a palpable experience to devotees. The priests employed
> > Sanskrit mantras; the devadasis used music, mudra and dance. Both
> > regarded themselves as "temple servants." They carried an attitude of
> > humble self-respect, joyfully filling an occupation that garnered
> > little worldly reward. Their deepest fulfillment was completely
> > inner.
> >
> > The Kamikagama describes many categories of female ritual temple
> > artists, including the Rudraganika, Rudrakkannikai and the Rudradasi.
> > Contemporary high priest Sadyojatasivacharya summarizes from Agamic
> > passages: "The Rudraganika should wear her hair in a knot above the
> > collar bone; her waist should be adorned by a saffron cloth. She
> > should wear the Siva mark of three stripes of holy ash and the
> > rudraksha as the sole ornament. She should wear a silken blouse. The
> > acharya gives her Sivadiksha (initiation) and teaches her the
> > Panchakshara Mantram and ties on her the golden sign of the linga
> > onto her wedding pendant. For all three [ganikas] after the bottu
> > (lingam) has been tied, it is necessary for her to peform nrittnam,
> > pure dance. If this is done with lust, or otherwise, the king and
> > country will be destroyed."
> >
> > Other sects, Sakta and Vaishnavite, scripturally sanctioned and
> > adopted the devadasi tradition. To her village, she was considered a
> > "harbinger of auspiciousness," a true embodiment of the Deity.
> > Devotees invited devadasis to private homes on auspicious occasions,
> > especially weddings. Here they were worshiped and then asked to sing
> > and bless. They went in groups of two or more, never alone. One Puri
> > Temple retired devadasi relates: "People used to take sand from our
> > door [as a blessing] and bangles from our hands to give to their
> > daughters. But today, people think sinfully about us and [don't do
> > this anymore]."
> >
> > The devadasi's schedule was highly routine. She performed daily, or
> > more infrequently if many were attached to her temple. She lived in
> > her own small house, alone, on temple lands, and ate both temple
> > prashadam and cooked for herself. She rose before dawn, performed her
> > personal worship and arrived at the temple with the priests. She
> > sang, lit lamps and danced generally in two different locations --
> > right before the inner sanctum and also at smaller shrines in outer
> > mandapams (halls) where devotees were uplifted by her sublime
> > worship. At other times, she performed in festival processions and
> > part of dance dramas that continued around the year keeping Hindu
> > teachings and stories alive. In the evening, she sang but only the
> > most honored "inner division devasasis" performed at the close of the
> > final evening puja, waving the last arati. Some learned and played
> > the flute and veena.
> >
> > Her "Private" Life -- Fact Versus Fabrication
> >
> > Nothing has so hypnotized the prurient imagination of Western writers
> > than the devadasi's "private" life. French missionary Abbé Dubois
> > seeded a breeding nest of vilification with his baseless statement
> > circa 1800: "Once the devadasis' temple duties are over, they open
> > their cells of infamy, and frequently convert the temple itself into
> > a stew. A religion more shameful or indecent has never existed
> > amongst a civilized people." Other Western writers further
> > fictionalized this warped portrait. By the early 1900's, an élite
> > group of Anglicized Indians, brainwashed by decades of Christian
> > moralizing -- along with a party of avowed anti-Hindu atheists -- led
> > fierce campaigns against temple dancing. Several unusually courageous
> > devadasis such as Balasarawati (left) and stalwart brahmin
> > sympathizer E. Krishna Iyer fought against the zealous "reformers."
> > But to no avail. The temples were legally "cleansed" in late 1947.
> > (See side bar.) The sacred art form was frantically and awkwardly
> > passed on to high-caste brahmin girls to learn and then perform as
> > "high" secular entertainment, like ballet, where it stands today.
> >
> > Ironically the dismantling of the devadasi tradition only fueled an
> > even more radical rural religious practice. In this, girls are "wed"
> > to a God or Goddess, but with no temple to serve in. Often called
> > jogtis, (or, confusingly, devadasis by the Indian press) they carry
> > an image of the Deity and worship it daily. Considered "auspicious,"
> > they beg at five homes a day and are openly "public women," with
> > rural society's religious sanction. State governments have banned the
> > practice and are desperately trying to eradicate it.
> >
> > During 1975-1981 Frédérique Marglin, an anthropologist who studied
> > Indian dance, visited India and befriended the last remaining temple
> > devadasis of the Jagannath Temple at Puri. Her remarkable 400-page
> > sober and sensitive account of their tradition, Wives of the
> > God/King, faithfully retrieves one of the clearest pictures of the
> > original devadasi tradition in all its complexity.
> >
> > The Puri devadasis repeatedly told Marglin that fraternizing with
> > "outsiders," (pilgrims) was strictly taboo. If they had "relations"
> > with a temple devotee, they were dismissed. However, they shared
> > something that was common knowledge amongst temple brahmin families
> > but to few others. In the words of Radha, a Puri devadasi: "It is a
> > custom for us to keep relations with a brahmin temple servant, but
> > never with 'outsiders.' Why should I hide these things? When I had my
> > puberty, I exchanged garlands with this priest [a widower] in whose
> > brother's house I live and I have lived within the boundaries of that
> > relationship always." The Puri devadasis explained that they grew up
> > with the priests and felt a natural closeness to them as both had
> > dedicated their lives to being temple servants. The brahmins' wives
> > were fully aware of these "second wife" situations. Until "reformers"
> > came, they were never a moral concern. The sinfulness Christians
> > attached to non-monogamous marital arrangements was not yet known.
> > For years, the devadasis feared revealing this area, painfully aware
> > that already they were considered prostitutes by educated society.
> > Now, demoralized and disbanded, they feel they have nothing to lose
> > in confiding everything, for they have nothing left, except a
> > hauntingly deep love of devotional song and dance.
> >
> > Part III will include interviews with famous contemporary dancers,
> > including Mrinalini Sarabhai, Ratna Kumar and Vidya Sridhar.
> >
> > The Law that Damned Dance
> >
> > The sun rose bright over Madras on January 27th, 1948. It seemed to
> > be an everyday morning. But when the Fort St. George Gazette hit the
> > streets, there were cries --cheers and tears. The legal section
> > carried the long-expected decree -- The Madras Devadasis Act XXXI,
> > (reproduced in part):
> >
> > "Dancing by a woman, with or without kumbhaharathy (pot-shaped temple
> > arati lamp), in the precincts of a temple or other religious
> > institution, or in any procession of a Hindu deity, idol or object of
> > worship installed in any such temple or institution or at any
> > festival or ceremony held in respect of such a deity, idol or object
> > of worship, is hereby declared unlawful... Any person who performs,
> > permits or abets [temple dancing] is punishable with imprisonment
> > for... six months.
> >
> > A woman who takes part in any dancing or music performance... is
> > regarded as having adopted the life of prostitution and becomes
> > incapable of entering into a valid marriage and... th e performance
> > of any [marriage] ceremony... whether [held] before or after this Act
> > is hereby declared unlawful and void."
> >
> > From that day onward, 35,000 temples of Tamil Nadu barred all women
> > performers, devadasis or not. Most had already. Today, Indian girls
> > perform Hinduism's sacred dances in high school basketball gyms,
> > rented Christian community centers and hotel dance halls. The temples
> > meanwhile are void of devotional song and dance, except occasional
> > tourist shows like at Khajarao.
> >
> > Amrapalli of Puri
> >
> > Amrapalli was a dancer/singer in Puri's Jagannath Temple and began in
> > her early teens. In her mid-twenties, the local king suddenly
> > banished her from the temple. She says it was because she refused his
> > royal order to bed with him (a king's right, exercised for
> > centuries). Others said it was because she lived for a period in
> > Calcutta with her "patron," breaking the rule that devadasis never
> > leave their temple's town.
> >
> > Amrapalli broke another rule, one of the first to do so. When she saw
> > her tradition being trampled into ruin by the "anti-dance" reformers,
> > she trained her four adopted daughters in music and dance, but
> > married them to high caste husbands (including one brahmin), instead
> > of dedicating them as devadasis. The fourth she married to a
> > devadasi's son. He became an Orissi dancer and now teaches at a dance
> > school.
> >
> > Amrapalli came from the karana caste, hereditary temple scribes, and
> > was dedicated to the temple at age 9 by her mother. She was highly
> > trained, studied literature, wrote poetry, was considered very
> > beautiful, danced inspirationally and had an unusually sweet,
> > devotional voice.
> >
> > "[The 'reformers'] say I was just a concubine of [my patron]. But he
> > was also one of my gurus. Sometimes, he even worshiped me as a
> > devotee, giving me sandalpaste and flowers and doing puja to me. He
> > was very religious and built a shrine and a hospital."
> >
> > As of 1982, Amrapalli was happy, living alone and associating closely
> > with a Vaishnavite monastery in Puri, worshiping and attending talks
> > by sadhus.
> >
> > End of forwarded article from:
> >
> > http://www.hinduismtoday.com/1993/9/1993-9-12.html
> >
> > Jai Maharaj, Jyotishi
> > Om Shanti
> >
> >
> > Devadasis
> >
> > Hinduism Today
> > December 1993
> >
> > Outlawed as Harlots
> >
> > Parts One and Two of our 4-part series introduced India's legendary
> > ritual temple artists, the Devadasis. Part Three-drawn extensively
> > from Kay Jordan's unusual study "From Sacred Servant to Profane
> > Prostitute-The Changing Legal Status of the Devadasis: 1857-1947"-
> > examines the complex saga of how, in a land where God is worshiped as
> > a dancer, dance became a sin.
> >
> > As the East India Company's 17th century "looting spree" turned into
> > permanent business by the 1800's-"bleeding India, judiciously," as
> > British Prime Minister Salisbury coolly decreed-waves of Christian
> > preachers and teachers were dispatched to Anglicize the "savages."
> > Vicious in their ridicule of Hinduism, the missionaries won converts
> > amongst the Indian élite who were quick to adopt novel European ideas
> > and eager for social acceptance by those in power. Gradually the
> > seeds of cultural shame were sown and an Indian clone of British
> > mentality successfully bred. From then onwards, the most effective
> > critics of Hindu tradition were Indians themselves. By the late
> > 1800's, a reform movement was in full bloom comprised of
> > "missionaries, doctors, journalists and [Indian] social workers
> > heavily influenced by Christian morality and religion," notes social
> > historian Amrit Srinivasan. "Civilizing the Indians through enforcing
> > a uniform adoption of the Victorian ethic for women" became a central
> > goal of the reformers. And the Devadasi tradition-with its custom of
> > allowing her an alliance with a respectable "patron" in the
> > community-stood out as the most ungodly, un-Christian violation. "An
> > insult to womanhood," reformers indignantly fumed, and insisted on
> > "the imported conjugal monogamous ideal for women as the only code of
> > conduct permissble for all Indian women," Srinivasan further
> > examines.
> >
> > Devadasis in Court
> >
> > The earliest court cases involving devadasis appear in the1860's-
> > mostly petty grievances with temple management over the devadasis'
> > temple land grants and their selection rights regarding new
> > devadasis. A statement by Bombay's Chief Justice Holloway in 1864
> > typifies Britain's cautious legal policy of avoiding, whenever
> > possible, any legislation on matters of Hindu religion that might
> > inflame the Hindu populace. He wrote:"This [devadasi custom] is not
> > at variance with Hindu law; our courts are therefore bound to
> > administer to them that law, uninfluenced by a fastidiousness founded
> > upon Western views of morality." Social activists however insisted
> > that girls dedicated to temples were inducted into lives of
> > prostitution and demanded the courts ban the practice. (The Indian
> > Penal Code, established in 1861, allowed for prostitution but made
> > "trafficking" illegal.) Pressured by an Indian élite who felt
> > embarrassed by a tradition that Westerners had convinced them
> > "violated international 'moral' standards," the Central Government in
> > 1872 requested an official report from each of its provinces on the
> > extent and nature of its devadasi tradition as well as the Hindu
> > public's opinion relating thereto.
> >
> > The Governor General of Madras responded: "It seems to be the most
> > general opinion that dancing girls are necessary adjuncts to the
> > Hindu ritual and that also their attendance on private families is
> > customary and necessary on many domestic occasions. That to legislate
> > with the intention of the gradual extinction of the dancing girl
> > caste would be viewed with extreme dislike by the great majority of
> > Hindus." Bombay agreed and penned: "There would be no advantage to
> > interfere in long established usages in this respect which are in a
> > great measure founded on the religious tenets of the people."
> > Trichy's District Magistrate replied: "These girls, by definite title
> > or by prescription, occupy a defined position and perform defined
> > duties in Hindu temples and from that point of view, their services
> > must be considered lawful and necessary and are also recognized by
> > the Civil Courts as being so." Sholapur Collector A.F. Maconochie
> > expressed that the dancing girls should be tolerated because if they
> > were outlawed, they would be abused. "Private [Hindu] people would be
> > unwilling to receive them, and there are no public institutions in
> > India for their reception. The [Christian] Missions, of course, would
> > take them in, with the object of making Christians of them. But as
> > the mass of Indian public look on change of religion, especially the
> > adoption of Christianity, as a far worse sin than prostitution, the
> > change would stir up very bitter religious opposition, and be
> > interpreted as a practical propagation of Christianity by the
> > government." H.C. Mules, Karachi district magistrate, answered:
> > "However objectionable the lives of the girls may be in our eyes, it
> > does not appear they follow their calling under pressure, and are not
> > looked upon as outcasts or regarded so by their co religionists."
> >
> > Britain's Home Secretary responded to the reformers' argument that
> > dedicating girls without their consent was cruel: "In India, females
> > of disposed of one way or another, long before age 16; whether their
> > volition has or has not matured by that age is not very material
> > since they seldom are allowed to exercise it at any time."
> >
> > After judicious review, the Central Government concluded that
> > regardless the extent of alleged sexual excesses it perhaps
> > encompassed, the devadasi tradition was nevertheless a bonafide Hindu
> > custom and that existent "trafficking" laws provided adequate
> > protection by forbidding girls under 16 to be given or kept for the
> > proven express purpose of prostitution. But, as reformist zeal
> > mounted, some judges showed less restraint. In 1880, Justice West of
> > Bombay called the temple dancer tradition of his precinct a
> > "manifestly evil tendency, essentially vicious" and denied devadasis
> > protection under all civil law. Madras High Judge Muttusami Ayyar
> > objected: "Whatever may be the change in the sentiments of Hindus in
> > regard to the dancing women in Bombay and Poona, I am unable to say
> > that there is considerable change in this presidency in the general
> > mass of the Hindu community as contra-distinguished from a
> > comparatively small section that has come under the influence of
> > Western culture."
> >
> > But continuing pressure and "criticism of the court's recognition of
> > the devadasis and their customs from England and from both Indian and
> > missionary social reform organizations demanded the British Indian
> > government take action," notes author Kay Jordan.
> >
> > In 1912, legislation to "protect female minors"-aimed at banning the
> > devadasi system-was again introduced by a Parsi and a Hindu, Mr.
> > Mudholkar. Mudholkar presumed: "Neither Hinduism as now practiced,
> > nor Hinduism as it was inculcated by our rishis, recognized this
> > [devadasi system]. It was to them a most abhorrent thing." Moral
> > indignation voiced by the male sector of Hindu society was new.
> > Associate Professor of Asian Studies at Mt. Holyoke College Dr.
> > Indira Viswanathan Peterson explains this phenomenon: "In reaction to
> > the British, Indians acted in two contradictory ways: they became
> > great reformers; but also suppressed some of the more erotic and
> > sexually liberated aspects of women's culture, thus turning Indian
> > society more rigid and conservative. Devadasis, or temple dancers,
> > were now considered obscene prostitutes, whereas earlier they were
> > not. This was because Indian men had to prove to the British that
> > they were moral, moral in a Christian, Victorian sort of way."
> >
> > All along, the central question of alleged prostitution, or a degree
> > thereof, within the devadasi tradition remained a blur. The Madras
> > Legislature wrote in 1924: "We have not definitely assumed that
> > employment as a devadasi is equivalent to employment for purposes of
> > prostitution." The Central Government generally concurred: "Even if
> > it is true in many instances that temple dedication is synonymous, in
> > practice, with prostitution, we should hesitate to make a legal
> > declaration to that effect, so long as this was not admitted by
> > Hindus generally." It then advised Bombay and Madras to strengthen
> > prostitution trafficking laws and to encourage their ladies'
> > vigilante associations as such rather than outlaw devadasis.
> >
> >
> > Then in 1929, a brahmin woman and member of the legislature, Dr.
> > Muthulakshmi Reddy, launched a furious anti-nautch (dance) campaign,
> > demanding wholesale demolition of the devadasi system-a "revolting
> > custom, calling for immoral trade of women," she raged. "The
> > dharmakarthars [temple heads] and general illiterate public imagine
> > that the Gods in the temple want these dasis for service!" she added.
> > "The Gods in the temple do not want any dancing or music," thundered
> > a Mr. K. R. Karant, a Hindu. "It is a sacrilege to say that religion
> > requires all this nonsense."
> >
> >
> > "Don't Exterminate Us!" Throughout the 60-years of legal assault
> > against them, the devadasis remained silent. But Dr. Reddy scared
> > them out of that shy profile. Overnight, scores of hand-writtenpleas
> > and protests-personally signed by devadasis-poured into the Madras
> > Legislature. One stood out. It was signed by the "Deputation of the
> > devadasis of the Presidency of Madras" and "Devadasi association of
> > the Tinnevelly District." In eloquent language, they pleaded for
> > their survival. They denied being harlots, and lamented this cruel
> > stigma attached to them. They confessed a minor degree of
> > prostitution had crept into their society and sincerely invited that
> > such women be dealt with in accordance with existing laws. They
> > maintained: "Our institution is similar to the mutts presided by
> > sanyasis for the propagation of religion. We can be compared to
> > female sanyasis who are attached to respective temples. We marry none
> > but God and become devotees of God." "They described themselves,"
> > writes Kay Jordan, as "guardian angels of dance and music with a
> > devotion that bears comparison with the ardor of the pundits reading
> > Vedas in preference to modern pursuits." They quoted the Saiva Agamas
> > to substantiate their scriptural origins-"Shiva said: 'To please me
> > during my puja, arrangements must be made daily for shudda nritta
> > (dance). This should be danced by females born of such families and
> > the five acharyas should form the accompaniments.' Since these Agamas
> > are revered by every Hindu, however modern and educated they are,
> > what reason can there be for our community not to thrive and exist as
> > necessary adjuncts of temple service?" They averred Dr. Reddy's
> > proposed abolition of their tradition punished the many for actions
> > of a few, and painfully assessed: "In proposing this legislation, the
> > legislators attempt to do away for ever with our sect. Such
> > legislation is unparalleled in the civilized world."
> >
> >
> > They asked for more soulful training: "Give us education-religious,
> > literary and artistic-so we will occupy once again the same rank
> > which we held in the past. Teach us the Thevarams of the Saivite
> > saints and the Nalayaram of the Vaishnavite acharyas. Instill into us
> > the Gita and the beauty of the Ramayana and explain to us the Agamas
> > and the rites of worship." This would, they argued, inspire devadasi
> > girls to model themselves after female saints like "Maitreyi, Gargi
> > and Manimekalai and the women singers of the Vedas that we might once
> > again become the preachers of morality and religion... You who boast
> > of your tender love for small communities, we pray that you may allow
> > us to live and work out our salvation and manifest ourselves in jnana
> > and bhakti and keep alight the torch of India's religion amidst the
> > fogs and storms of increasing materialism and interpret the message
> > of India to the world."
> >
> > Despite fervent protests by E. Krishna Iyer and a"pro-art" Madras
> > contingent-Dr. Reddy and her Anglicized women's leagues prevailed.
> > Crippling legislation passed against the devadasis in 1927, followed
> > by total abolition in 1947 [Hinduism Today, Sept. '93]. Dance was
> > relegated to a secular art, renamed Bharata Natyam, and then adopted,
> > restylized and nurtured by mostly married women of the brahmin caste.
> >
> >
> > Part IV includes messages from famous dancers as well as an
> > explanation of the current rationale of the Anti-Nautch Law from a
> > Tamil Nadu government spokesperson.
> >
> > End of forwarded article from:
> >
> > http://www.hinduismtoday.com/1993/12/1993-12-13.html
> >
> > Jai Maharaj, Jyotishi
> > Om Shanti
> >
> >
> > Temple Dancers
> >
> > By Bhadra Sinha
> > Letters to the Editor
> > Hinduism Today
> > June 1994
> >
> > Your coverage on Devadasis [August, September, December, 1993 and
> > January, 1994] was really informative for talented new dancers.
> > Devadasis were those who dedicated their lives to their dance not for
> > money but only because it was a medium through which they could
> > worship God. Dance, especially classical Indian dance, was given by
> > Lord Shiva (Tandava) and by Goddess Parvati (Lasya). Devadasis
> > performed this dance for God, but their dance was appreciated by
> > people too. People used to come to the temple for puja and also saw
> > the dance. Because they appreciated the dance, this does not mean
> > that it should be done for their entertainment.
> >
> > Dancers should continue to maintain the dignity of dance by keeping
> > it a medium for worshiping-they should not commercialize it. Dancers
> > should have the temple as the stage for their dance.
> >
> > Bhadra Sinha, New Delhi, India
> >
> > Source - http://www.hinduismtoday.com/1994/6/1994-6-06.html
> >
> >
> > An Era of Renaissance
> >
> > By Rishi K. Agarwal
> > Letters to the Editor
> > Hinduism Today
> > June 1994
> >
> > It's a matter of great satisfaction that such a very useful forum
> > [Hinduism Today] has been functioning for the last sixteen years-
> > bringing together the Hindus spread all over the world to communicate
> > with each other on matters relating to this great religion and
> > spiritualism. I hope that this will usher in an era of renaissance in
> > Hinduism worldwide. It's highly gratifying to note that basic tenets
> > of Hinduism have percolated down to the grass-root levels in the
> > Western world, which has certainly opened its eyes and ears to the
> > spiritual teachings and moral principles of our saints and sages who
> > had dedicated their lives for the good of mankind.
> >
> > I am amazed by the clarity of understanding and appreciation of a
> > complex Hindu tradition such as Devadasis shown by Prof. Teresa Hubel
> > [January, 1994]. I am yet to find such a positive, sensible and
> > illuminating approach from a co-religionist.
> >
> > You have given important information on what Hindus are trying to do
> > in many corners of the world. Accomplishing such a hazardous task is
> > certainly a wonderful show of immense dedication, sincerity of
> > purpose and total commitment to what you believe in.
> >
> > Rishi K. Agarwal, Orissa, India
> >
> > Source - http://www.hinduismtoday.com/1994/6/1994-6-06.html
> >
> >
> > Devadasis Forever
> >
> > By Richard Morey
> > Letters to the Editor
> > Hinduism Today
> > December 1993
> >
> > Your series of articles about the "Devadasis-India's legendary temple
> > dancers," is deeply appreciated by everyone here at the society of
> > Abidance in Truth. We applaud and heartily encourage such excellent
> > "spiritual journalism." Our ashram maintains a regular schedule of
> > Indian spiritual cultural events featuring Indian musicians, singers
> > and dancers. Yes, we do invite into our temple traditional Indian
> > dancing, such as bharata natyam and other forms. We have found these
> > events to be quite spiritually inspiring for our members and guests,
> > and the dancers are always deeply touched by performing in such a
> > holy setting.
> >
> > Richard Morey, General Manager Society of Abidance in Truth Santa
> > Cruz, CA
> >
> > Source - http://www.hinduismtoday.com/1993/12/1993-12-22.html#gen261
> >
> > End of forwarded articles from Hinduism Today
> > http://www.hinduismtoday.com
> >
> > Jai Maharaj, Jyotishi
> > Om Shanti
> >
> > o Not for commercial use. Solely to be fairly used for the
> > educational
> > purposes of research and open discussion. The contents of this post may
> > not
> > have been authored by, and do not necessarily represent the opinion of the
> > poster. The contents are protected by copyright law and the exemption for
> > fair use of copyrighted works.
> > o If you send private e-mail to me, it will likely not be read,
> > considered or answered if it does not contain your full legal name,
> > current
> > e-mail and postal addresses, and live-voice telephone number.
> > o Posted for information and discussion. Views expressed by others
> > are
> > not necessarily those of the poster who may or may not have read the
> > article.
> >
> > FAIR USE NOTICE: This article may contain copyrighted material the use of
> > which may or may not have been specifically authorized by the copyright
> > owner. This material is being made available in efforts to advance the
> > understanding of environmental, political, human rights, economic,
> > democratic, scientific, social, and cultural, etc., issues. It is believed
> > that this constitutes a 'fair use' of any such copyrighted material as
> > provided for in section 107 of the US Copyright Law. In accordance with
> > Title
> > 17 U.S.C. Section 107, the material on this site is distributed without
> > profit to those who have expressed a prior interest in receiving the
> > included
> > information for research, comment, discussion and educational purposes by
> > subscribing to USENET newsgroups or visiting web sites. For more
> > information
> > go to: http://www.law.cornell.edu/uscode/17/107.shtml
> > If you wish to use copyrighted material from this article for purposes of
> > your own that go beyond 'fair use', you must obtain permission from the
> > copyright owner.
> >
> > Since newsgroup posts are being removed
> > by forgery by one or more net terrorists,
> > this post may be reposted several times.
>
>
==============================================================================
TOPIC: gujarat now has fewer kirastanis
http://groups.google.com/group/rec.arts.movies.local.indian/t/5d3af22822ce7d25?hl=en
==============================================================================
== 1 of 1 ==
Date: Mon, Jan 4 2010 4:13 pm
From: usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)
Dhanyavaad for posting the welcome news.
Jai Maharaj, Jyotishi
Om Shanti
In article <4b32a580$0$5332$bbae4d71@news.suddenlink.net>,
"harmony" <aka@hotmail.com> posted:
>
> deceived, disillusioned, disenchanted, the duped dump their dupers.
>
>
> Over 1,750 tribal Christian families reconverted to Hinduism at a ceremony
> presided over by Swami Narendra Maharaj at the Pal area near Surat on
> Monday. This event was preceded by another event in which 7000 poor people
> in Thane reconverted to Hinduism last month. Maharaj had come to address a
> public meeting here, and the ceremony was organised by his local branch
> officials in the city. Most of those who reconverted to Hinduism came from
> the tribal community in south Gujarat.
>
> About 10 priests chanted mantras at a 'havan' around which sat those willing
> to get back to Hinduism. The participants were given 'gurumantra' and
> 'janaiv' (sacred thread) to mark their reconversion. The event started
> around 10 am and continued till late in the evening. Saints from different
> parts of the country also took part in the event.
>
> A large number of tribal participants came to the venue from Dangs, Valsad,
> Navsari and Maharashtra's Thane and Nandurbar districts. They also signed
> documents stating that they had voluntarily returned to Hinduism and will
> remain in the Hindu fold henceforth. At the end of the ceremony, they were
> given calendars with pictures of Maharaj, chains and small books written in
> Hindi and Gujarati.
>
>
> Arjun Ambekar, a spokesman of Maharaj said: "For the last few years we are
> regularly visiting the villages in south Gujarat, learning about how tribal
> Hindus have been converted to Christianity. On Monday, we reconverted 1,750
> families to Hinduism. In the last three years, our maharaj has reconverted 1
> lakh people each in Gujarat, Maharashtra and Goa.We don't force the people;
> we just explain them deeply about Hindu Gods and Goddesses and their lives,"
> Ambekar added.
>
>
>
> Ajit Choudhary (30), a carpenter from Thambhla village in Dangs district
> said: "I converted to Christianity three years ago along with my parents and
> brothers and sisters. We were mislead and told that Christianity rewards us
> and treats us with respect. Very recently, we came in contact with the
> disciples of Guru Narendra Maharaj and they explained us about Hindu
> religion and Sashtras. Later we all decided to reconvert to our ancestral
> religion: Hinduism."
>
>
> SUMMARY:
>
> BABA SAHEB AMBEDKAR, MAHATMA GANDHI and many other great men OPPOSED
> CONVERSION TO CHRISTIANITY THROUGH THEIR LIVES.
>
> Similarly, Government of India recently decided not to act upon the
> recommendations of the Ranganath Mishra Commission which had asked for
> reservations to be granted to converted christians and muslims.
>
> Christians cannot have it both ways....On one hand they say their religion
> doesnot discriminate but yet they want reservation to their Dalits because
> Hindu Dalits have it ????!!!Christianity doesnot solve day to day problems
> of any suffering human being. It only ACTS as though it does. Missionaries
> are at Best great talkers and bribers.
>
>
==============================================================================
TOPIC: Is the State of Kerala Sponsoring Islamic Terrorism?-C.I. Issac-1
January 2010
http://groups.google.com/group/rec.arts.movies.local.indian/t/647e05e97754218f?hl=en
==============================================================================
== 1 of 1 ==
Date: Mon, Jan 4 2010 4:50 pm
From: usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)
aapkaa prastaav uttam hai |
Om Ganeshaaye Namah!
Jai Maharaj, Jyotishi
Om Shanti
In article <4b4284ba$0$5343$bbae4d71@news.suddenlink.net>,
"harmony" <aka@hotmail.com> posted:
>
> dharam dubaya, aur aab adharmi bhee hone lagey hai yeh keral lowg.
> thode bihari yaatriyon ko bhej diye jaye.
> "Athish Ravikanth" <athishravikanth@gmail.com> wrote in message
> news:40c8c857-74f9-431a-9c2a-4a41b8d24cb1@a21g2000yqc.googlegroups.com...
>
> Jai Hind,
>
> Recent newspaper reports on Islamic fundamentalists' operations from
> Kerala under the camouflaged stewardship of Abdul Nasser Madhani,
> accused in the Coimbatore Bomb Blast case, and the ruling and
> opposition coalition's hide and seek game in dealing with terrorists,
> reveals more obscurity than clarity.
>
> The question of Islamic terrorism was widely discussed since the
> 1980s, but the decision-makers did not take the progressively
> burgeoning menace of terrorism in Kerala in its true perspective. The
> result was that the terrorist outfits of Kerala acquired an
> international character by establishing relations with Mumbai terror
> suspect David Coleman Headley, since then in the custody of the FBI in
> Chicago.
>
> There are various reasons behind the laxity of political coalitions of
> Kerala towards terrorists. The first is the petro-money from Arab
> courtiers reaching Islamic terrorist groups through legitimate and
> hawala channels. With this money terrorists are able to effectively
> silence the corrupt and greedy political leaderships of both
> coalitions of the State. The second reason is the minority votebanks.
> The third is the absence of Hindutva-consciousness amongst the Hindus,
> which complements the birth of minority votebanks.
>
> Until the BSF arrested Thadiyantavide Nazeer, a disciple of Madhani,
> from the Bangladesh border, the true picture of Islamic terrorist
> operations in Kerala was not seriously debated in socio-political
> circles. Similarly the extent of political patronage enjoyed by
> Islamic terrorists from the ruling and opposition parties was not
> seriously debated. However, by divine assistance, the opportunity to
> interrogate Nazeer first went to the Karnataka police. That is why the
> real picture of the state of art Islamic Terrorism in Kerala came into
> the open.
>
> The response of the Kerala Home Ministry in this regard justifies this
> contention. Apparently, in the political scenario of the State several
> shameful developments took place in the light of Nazeer's arrest. The
> Home Ministry in particular, and the ruling and opposition parties,
> blatantly strove to whitewash various Islamic fundamentalist
> organizations that supported them in elections.
>
> The Home Ministry deputed the most tainted police officer to
> interrogate Nazeer to Bangalore, overlooking officers in-charge of the
> investigation of terrorist cases in Kerala. This most favoured police
> officer is still facing a vigilance enquiry for allegations of
> smuggling of electronic equipments, amassing excess wealth, etc. The
> said officer, IG Tomin J. Thachankary, has been portrayed in the media
> as one: "who is believed to be having close links with CPM state
> secretary Pinarayi Vijayan, was also said to be a technical advisor at
> the time of the setting up of the Kairali TV Channel [CPM venture]. He
> was suspended from service in July 2007 after the Vigilance and Anti-
> Corruption Bureau filed FIR against him. As per the FIR he had amassed
> about Rs. 90 lakh beyond his known sources of income. While being
> reinstated in service earlier this year, the Chief Minister had
> specially cautioned that he should not be given key postings" [Arun
> Raghunath, ENS, Thiruvanthapuram, The New Indian Express, Kochi, 10
> Dec. 2009].
>
> By overlooking the Chief Minister's warning that the government
> "should not give key postings" to the officer, Home Ministry's
> enthusiasm to depute the tainted IG to interrogate Nazeer in Bangalore
> suggests the political patronage enjoyed by Islamic terrorist groups
> of Kerala.
>
> In December 2006, the anti-piracy cell of Kerala police raided his
> wife Anita's digital studio [Riyan Studio] at Kochi, and recovered
> sacks of pirated CDs. The destiny of the case is shrouded in obscurity
> and thus left to the discretion of an astrologer. In 2002, his gunman
> was arrested from Cochin International Airport with costly electronic
> equipment. The fate of this case not much different from the earlier
> ones. No doubt this IG is the most appropriate person in Kerala Police
> to keep the reciprocal obligations of the CPM to all terrorist outfits
> in Kerala.
>
> As rumours of Sufia's arrest spread across the State, Abdul Nasser
> Madhani summoned a press conference and threatened the State
> Government. He warned that the arrest of his wife in connection with
> the torching of a Tamil Nadu State Transport Corporation bus at Cochin
> in 2005 would have dire consequences.
>
> Nazeer's new disclosures before the Karnataka Police put the CPM on
> the defensive. The case registered for hijacking and torching of a
> Tamil Nadu State Transport Corporation bus from NH 47 near Cochin
> during the night of 1 September 2005, to demand Madhani's release from
> Coimbatore jail, was put in the mortuary until Nazeer's arrest. But
> the information from the Karnataka Police forced the Kerala Home
> Ministry to arrest the chief culprit, Sufia Madhani, wife of Abdul
> Nasser Madhani.
>
> But the arrest and interrogation of Sufia ended in melodrama.
> Immediately after her arrest she was produced before the court and
> remanded to judicial custody. She was stationed in the sub-jail of
> Ernakulum, and very soon shifted to an air-conditioned ward in a
> Medical College for a minor ailment. She got VIP treatment, a
> testimony to Kerala government's timidity towards terrorists and
> terrorism. When her bail application came before the designated court,
> the prosecution paved the way for a walkover for the accused. While
> granting bail to Sufia, the designated court observed: "The High
> Court, while dismissing the petitioner's anticipatory bail
> application, had said that custodial interrogation was required. But
> the prosecution has not sought police custody of the petitioner so
> far" [The New Indian Express, Kochi, 24 Dec. 2009].
>
> The unholy association of Madhani and Pinarayi Vijayan group of CPM is
> behind the fake show of arrest and bailout of Sufia. Now the Home
> Minister symbolizes the interests of Jihadi Islam. Nazeer, the
> mastermind behind the Bangalore explosions, now in the custody of the
> Karnataka Police, experimented with the 'cult of the bomb' near an
> Idgah of Kannur town in 2002, in reaction to the granting of
> permission for namaaz to women in the Idgah. Immediately the Kerala
> police nabbed him. Due to political pressure, he was released from
> police custody and the case put in the mortuary. Thereafter he became
> the mastermind of all subsequent bomb blasts in South India. If the
> spineless political class of Kerala gives a freehand to the Police,
> further bomb blasts can be avoided.
>
> Yet the ruling and opposition parties are fiddling for the Pan-Islamic
> phenomena of love jihad. No political party other than BJP had shown
> courage to censure the vulgar Islamic proselytism enterprise of love
> jihad. Islamic organizations like Muslim Youth Front, Popular Front,
> Campus Front, Smart Front and Muslim women's groups like Tasrin
> Millath, Shahal Falls, etc are openly participating in love jihad.
> These organizations are providing financial and material support to
> Muslim youngsters to trap Hindu and Christian girls of teen ages, who
> are studying in professional education institutions, and convert them
> to Islam under the guise of love.
>
> This jihad was started in 1996 and still continues [Syed Muhammed,
> Janmabhoomi Daily, Kottayam, 27 Dec. 2009]. The jihad acquired a wide
> spectrum and speed, and from 2006 to the present, more than 4000 Hindu-
> Christian girls have fallen in to the trap. Due to money and political
> pressure, the police have not properly investigated parental
> complaints [Janmabhoomi Daily, Kottayam, 18 Sept. 2009]
>
> Most girls, their life spoiled, seek solace in suicide. Though the
> majority of the ill-fated are hailing are Hindus, until the Christian
> community reacted to love jihad, the matter was not widely debated in
> the media and society. Now the non-communist intellectual circles are
> raising doubts about proselytism under the guise of love jihad. The
> CPM and Islamic fundamentalist organizations claimed this was RSS
> propaganda until the Christians spoke out.
>
> CPM leader and national president of DYFI, P. Sreeramakrishnan,
> alleged that the motive behind the talk of love jihad was to curtail
> Indian women's freedom of choice. "They want to establish that the
> Hindu women are not capable of making their bold choice in any matter
> including love. You cannot describe conversions due to marriage as
> part of jihad" [Janmabhoomi, Kottayam, 1 Nov. 2009]. But do Hindu and
> Christian boys have the freedom to love Muslim girls, without
> conversion? In Islam, love is one-way-traffic, given the divine
> command of total conversion of the world through annihilation of
> kafirs. The DYFI leader lives in a fool's paradise.
>
> Christian parents brought the matter before the apex court, and the
> Hon. High Court of Kerala intervened in the cultural-extermination
> agenda of Islamic Jihadists. Justice KT Sankaran directed the Kerala
> government to take appropriate step to curb the unethical practice of
> proselytism under the guise of love jihad on 9 Dec. 2009. The court
> asked the government to consider enacting a law to prohibit such
> deceptive acts of forceful religious conversions under the garb of
> love: "Under the pretext of love, there cannot be any compulsive,
> deceptive conversion".
>
> The court arrived at this conclusion after examining the case diaries
> of the various investigative agencies [The Economic Times, 10 Dec.
> 09]. The fundamentalist Islamic bodies prayed for the prohibition of
> the term love jihad by the press before the apex court, but the court
> clarified that the term had appeared in the police report and it would
> not restrain the media from using it [The New Indian Express, 10 Dec.
> 09]
>
> Further, the National Investigative Agency under the Union Home
> Ministry intervened in the investigation of all terrorist actions of
> Kerala on the ground that the culprits are the same in almost all bomb
> blasts of South India in the recent past. As a result, NIA has decided
> to re-investigate the torching of the Tamil Nadu State Transport
> Corporation bus at Cochin in 2005, which case was suppressed by the
> CPM-led government to appease the Muslim votebank.
>
> This irked Home Minister Kodiyeri Balakrishnan, who openly challenged
> NIA's authority to investigate terrorist cases prior to the 2009
> constitution of NIA. He is now ready for a legal battle on the issue
> [The New Indian Express & Janmabhoomi, 28 Dec. 2009]. Yet the Union
> Home Secretary has clarified that, "The NIA can take up any case.
> Nothing can prevent the agency from investigating a case registered
> before 2009" [The New Indian Express, Kochi, 29 Dec. 2009]. No doubt
> Kodiyeri is yelling to save the face of his party and the tainted
> image of the Madhani-Sufia couple.
>
> The State Home Ministry under the stewardship of Kodiyeri Balakrishnan
> is over enthusiastic about protecting all anti-national enterprises in
> Kerala, including jihad. After the constitution of NIA, the home
> department is very cautious and hypocritical while charging cases
> relating to Islamic terrorism in Kerala, in order to save the face of
> some closely associated with the party. Thus, in the 13 July 2009 LeT-
> sponsored bomb blast in the civil station at Ernakulum, police
> registered a case not under sections of the Unlawful Acts or
> Prevention of Terrorism Acts, in order to avoid NIA's interference
> [Mangalam Daily, 29 Dec. 2009]. The paradox is that Nazeer confessed
> before the Karnataka Police his direct involvement in this blast. This
> is the tragic state of affairs of Kerala Police!
>
> To the Kerala CPM, jihadi activities are 'milch cows'. Several CPM
> leaders are billionaires through 'milking' this cow. Some decades ago
> they were penurious and ideological Marxists. Now everything has
> changed and they are leading a palatial life. What is the source of
> their accumulated wealth/income? Is there any competent authority in
> India which can unearth the source of income of these Marxist-
> Capitalists? How truly can Kerala bear the epithet "God's Own
> Country"?
>
> Jai Hind
> Athish Ravikanth
> 9379030409, 9945969917
> http://groups.google.co.in/group/bharat-jagruti-morcha?hl=en
>
>
==============================================================================
TOPIC: Proselytization In India: An Indian Christian's Perspective
http://groups.google.com/group/rec.arts.movies.local.indian/t/1b6576e30c9e776f?hl=en
==============================================================================
== 1 of 2 ==
Date: Mon, Jan 4 2010 5:08 pm
From: usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)
Exactly. They need to leave the religion that is terroristic in its teachings:
The terrorist mission of Jesus stated in the Christian bible:
"Think not that I am come to send peace on earth: I came not so send
peace, but a sword.
"For I am come to set a man at variance against his father, and the
daughter against her mother, and the daughter in law against her mother in
law.
"And a man's foes shall be they of his own household.
- Matthew 10:34-36.
Jai Maharaj, Jyotishi
Om Shanti
In article <4b428836$0$5317$bbae4d71@news.suddenlink.net>,
"harmony" <aka@hotmail.com> posted:
>
> the article is way too long to make a short point:
> all brown kirastanis should come back to their ancestors' tradition.
>
>
> "fanabba" <fanabba@aol.com> wrote in message
> news:e9f7fac3-b70e-4286-9846-d4255ebcc2a6@m26g2000yqb.googlegroups.com...
> > Proselytization In India: An Indian Christian's Perspective
> >
> >
> >
> http://c-alex-alexander.sulekha.com/blog/post/2003/05/proselytization-in-indi
> a-an-indian-christian-s-perspective.htm
> >
>
>
== 2 of 2 ==
Date: Mon, Jan 4 2010 5:29 pm
From: "M. Ranjit Mathews"
On Jan 4, 8:08 pm, use...@mantra.com and/or www.mantra.com/jai (Dr.
Jai Maharaj) wrote:
> Exactly. They need to leave the religion that is terroristic in its teachings:
Since Jesus is talking about non-Christians terrorizing Christians*,
the implication of what you say is that non-Christians need to leave
their religions. Are you sure you can give up terrorism only by
leaving your religion? If you can find non-terrorist followers of your
religion, ask them for advice on how to give up terrorism without
leaving your religion.
* if "Christians" = "followers of Jesus"
> The terrorist mission of Jesus stated in the Christian bible:
>
> "Think not that I am come to send peace on earth: I came not so send
> peace, but a sword.
> "For I am come to set a man at variance against his father, and the
> daughter against her mother, and the daughter in law against her mother in
> law.
> "And a man's foes shall be they of his own household.
> - Matthew 10:34-36.
>
> Jai Maharaj, Jyotishi
> Om Shanti
>
> In article <4b428836$0$5317$bbae4...@news.suddenlink.net>,
> "harmony" <a...@hotmail.com> posted:
>
>
>
> > the article is way too long to make a short point:
> > all brown kirastanis should come back to their ancestors' tradition.
>
> > "fanabba" <fana...@aol.com> wrote in message
> >news:e9f7fac3-b70e-4286-9846-d4255ebcc2a6@m26g2000yqb.googlegroups.com...
> > > Proselytization In India: An Indian Christian's Perspective
>
> > http://c-alex-alexander.sulekha.com/blog/post/2003/05/proselytization...
> > a-an-indian-christian-s-perspective.htm
==============================================================================
TOPIC: kerals are now alcoholics
http://groups.google.com/group/rec.arts.movies.local.indian/t/3b8d21cb2938a7ed?hl=en
==============================================================================
== 1 of 1 ==
Date: Mon, Jan 4 2010 5:15 pm
From: usenet@mantra.com and/or www.mantra.com/jai (Dr. Jai Maharaj)
I will not be surpsised if Kerala becomes a hub for terrorists.
Is Kerala tomorrow's Yemen?
Jai Maharaj, Jyotishi
Om Shanti
In article <4b31272e$0$5339$bbae4d71@news.suddenlink.net>,
"harmony" <aka@hotmail.com> posted:
>
> daroowala state is already slipping in literacy. it is the beginning of the
> tortuous journey ahead.
> kick malayas out of your states for snaity. these guys actually use govt's
> resources (which is actually peoples' resources) to drug people. this is
> just like the jihadis who use victims' resources to inflict damage on the
> victim.
> don't trust commies or any of the 3m.
> "harmony" <aka@hotmail.com> wrote in message
> news:4b310dbd$0$5332$bbae4d71@news.suddenlink.net...
> > No recession, alcohol sales rise in Kerala
> >
> > Naveen Nair & R Reghu Raj / CNN-IBN
> >
> > Published on Sat, Jan 03, 2009 at 00:54,
> >
> > Thiruvananthapuram: Kerala might have been pushed down to the second spot
> > when it comes to literacy. But when it comes to drinking, there are
> > perhaps not many to compete with the average Malayalee who thinks every
> > celebration is an excuse to drink.
> >
> >
> > Ninety five crore is only the money spent to buy liquor at government run
> > outlets. The actual figure, if you add sales at bars and country-side
> > outlets, would be much higher. The Malayalee's taste for the tipple is
> > only growing despite the recession.
> >
> >
> > "During festive season, we will drink no matter what, to forget our
> > troubles. Nobody can change that," says Sebastian, a resident of
> > Chalakudy.
> >
> >
> > The liquor sales during the Christmas-New Year season pales in comparison
> > to the 143 crores spent during last Onam. Liquor is so popular that it
> > even flows freely at conferences of political parties. And an alarming
> > fall out are scenes of molestation and misbehavior, especially during New
> > Year celebrations.
> >
> >
> > "There are many reasons for this. One is that youngsters are going through
> > internal and external strain," says Psychologist, K S David.
> >
> >
> > But the state government doesn't seem too concerned. After all liquor sale
> > feeds a sizable chunk of the exchequer. Even a church decree asking people
> > to stay away from drinks this Christmas seems falling on deaf ears; this
> > is one habit of the Malayalee that will perhaps stay forever.
> >
> >
> >
>
>
==============================================================================
You received this message because you are subscribed to the Google Groups "rec.arts.movies.local.indian"
group.
To post to this group, visit http://groups.google.com/group/rec.arts.movies.local.indian?hl=en
To unsubscribe from this group, send email to rec.arts.movies.local.indian+unsubscribe@googlegroups.com
To change the way you get mail from this group, visit:
http://groups.google.com/group/rec.arts.movies.local.indian/subscribe?hl=en
To report abuse, send email explaining the problem to abuse@googlegroups.com
==============================================================================
Google Groups: http://groups.google.com/?hl=en
No comments:
Post a Comment