The month of Adi is to commence. Alwars and nayanmars of Tamilnadu kept the Bhakthi movement alive for centuries.Then came the varkari Tradition of maharashtra. .Varkari is a school of Bhakti based on Bhagavata Dharma, the main deity worshipped being Vithoba or Vitthal. Literally millions of people are drawn by the idol of Vitthala whose abode is in Pandharpur (in Southern Maharashtra) since centuries. The custom of Varkari has grown around Pandharpur. The term Varkari is made up to two words -- "Vari" means moving or going on pilgrimage, and "Kari" means one who undertakes it. The regular pilgrim to Pandharpur known as Varkari is undertaken every year, preferably in the month of Ashadh . Varkaris usually move in groups, irrespective of caste and creed, performing bhajans and singing songs of saints, associated with Vitthal and Pandhari (short form of Pandharpur). "Pundalika Varada Panduranga Hari Vitthal!" is the ecstatic exclamation in between songs. We had an opportunity to be with the varkari group in Pandharpur for three days a few years back. The supreme shrine of Vitthala is shown as standing on the brick as waiting with his both hands clasping the waist. This idol was originally at Pandharpur (Kannada name Pandarage) and taken to Vijayanagar for safety reasons. However Bhanudas, the great grand father of saint Eknath (1533-1599 A.D.) brought it back to Pandharpur, according to tradition. The temple itself was built in the 12th century. Panduranga, another name of Vitthala, has evolved from place-name of Pandharpur. Very soon Pandharpur became the center of Bhakti movement in Maharashtra, with several saint-poets who belonged to different castes, hailing Vitthala, -- Gora Kumbar was a potter. Savata was a gardener, Narahari, a goldsmith, Sena, a barber, Joga an oilman, Chokhamela a Harijan (scavenger) Jana, a maid servant, and Kanhopatra, a dancing girl. Democracy in spiritual terms has prevailed for long in Pandharpur. No doubt Vitthal is the most beloved God of Maharashtrian devotees who call him Mai-Bap (mother & father) and, Pandhari-the mothers home (maher). Bhajan has soothing effect on Nervous System, helps relax the muscles, can be effectively used to reduce stress and its effects. The South Indian Bhajana Sampradaya was codified by three Acharyas: Sri Bhagavannama Bodhendra, Sri Sridhara Venkatesha Ayyaval and Marudanallur Sri Sadguru Swamigal . In fact, the Bhajana Sampradaya starts from the Greatest of Gurus - Sri Dakshinamurti incarnate - Sri Adi Shankara Bhagavatpada. It was he who gave the divine teaching - bhaja govindam and started the Bhajana Sampradaya. The next Guru was Sri Totakacharya. As Acharya once walked majestically holding his danda, Totaka, who was following the Acharya with bent head, looked up for some reason and burst into a joyful song when he saw Acharya appear as Sri Ramachandra holding his Ko-danda. This composition - jaya janaki ramana - is used as Totaka Mangala (spelled incorrectly as todaya mangalam) as the primary invocation at the commencement of the Bhajana. The entire Bhajan Sampradaya Paddathi itself has many important renditions like Guru Keertanam (songs in the praise of Gurus), Jayadeva’s Ashtapadi (the famous poetry called Gita Govindam), Deepa Pradakshina, etc. Deepa Pradakshina can be called the “heart” of Sampradaya Bhajan, and so it goes by the name Divya Nama Deepa Pradakshina. A Lamp (Deepam) with five wicks representing five faces is lit and placed at the center of the venue, earmarked for the purpose. The five faces represent the Pancha Bhootas. Devotees sing the praise of Lord in ecstasy, dance and go around the lamp with their heart soaked with devotion. In the process, a devotee get Chitta Shuddhi and single-minded concentration, because the body dances around the lamp (Kayikam Karma), the tongue chants the name of the Lord (Vachikam Karma), mind is remembering the Lord (Manasam Karma). Devotees dancing around the lamp By the act of singing, dancing and going around the Deepam, one accrues the benefit of going around the entire globe. The Deepa Pradakshina Paddhati consists of invocatory songs to invoke the Lord in the lamp. During the [I]Deepa Pradakshina, songs composed by saints Bhadrachala Sri Ramadasa, Sri Thyagaraja, Sri Narayana Theertha are sung. An important part of the [I]Deepa Pradakshina Paddhati is the [I]Gopika Geetham, which occurs in the [I]Dashama Skanda or the 10[SUP]th[/SUP] book of [I]Srimad Bhagavatham. The devotional fervor of the [I]Gopika Geetham is not only unmatched in the literature, but it also has the highest Vedantic Truth. Jayasala 42 [/I][/I][/I][/I][/I][/I]
