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Oddisi Dance: Questions for Vrindarani Dasi

Interview by Kaustubha das

Vrindarani Dasi (originally from St. Petersburg) is a 17 year old student at the Venunad Kala Kendra school of Odissi Dance in Vrindavan, India. Recently I had the pleasure of spending some time with her and her family in their beautiful home in Vrindavan. After an evening of kirtan in their small roof-top temple to Radha Govinda, Vrindarani kindly answered some questions about the classical form of Indian dance called Odissi. CONTINUE READING THIS ARTICLE »

Kaustubha das

NAMARUPA Issuse 10 Vol.05

For those still unfamiliar, NAMRUPA is a Internet magazine (with the option for print on demand) featuring well written articles and beautiful photography related to all varieties of Indian thought and culture. Of all the yoga related publications I’ve come across, NAMARUPA stands out as one of the most interesting and authentic. The latest issue (issue 10 volume 5) features a review of Radhanath Swami’s book The Journey Home by Rachael Stark, an article about the Polish humanitarian and Hindu Swami Maurice Frydman by Abdi Assadi and a National Geographic article from December 1905 entitled “The Parsees & The Tower of Silence at Bombay”. CONTINUE READING THIS ARTICLE »

Kaustubha das

Sita Sings the Blues

I was both delighted and disappointed by Sita Sings the Blues. Delighted by its creativity, but disappointed by its narrow understanding of the ancient story of Sri Rama. Sita Sings the Blues is an award winning1, 80 minute film, written, directed, produced and animated by artist Nina Paley. It is her personal retelling of the Ramayana. Sita Sings the Blues has a captivating beauty of its own. But the Ramayna’s beauty, traditionally exemplified in the character of Rama, is often displaced by Paley’s resentment toward her ex-husband.

With this observation, I am not engaging in psychoanalysis at a distance. The connection is clear in the film itself. Paley’s narrative of Rama and Sita is cleverly interwoven with the narrative of her own painful divorce. Speaking of her marriage, Paley says, “the way that it fails is uncannily similar to the way Rama and Sita’s [relationship fails].”2 Similar maybe, but there are obvious relevant differences as well. And in failing to recognize the differences, Paley allows the character of Rama to morph from the Ramayana’s hero into its villain.

But before elaborating on this criticism, I’d like to share some of what I found to be so great about Sita Sings the Blues. Unlike other animated Ramayanas which have been presented as children’s cartoons, Sita Sings the Blues is a mature artistic achievement. Its often fast paced progression is bursting with the colors and styles of India. It dazzles with wit and charm. From beginning to end, I was astonished with Paley’s cleverness. She masterfully combines several styles of animation. Shaded, squiggly drawn figures and collage style photography are combined to illustrate Paley’s own story. The bulk of the Ramayana story is animated with several styles of Indian painting as well as something resembling Betty Boop cartoons. Traditional South Asian shadow puppets with Indian voices are used as informal narrators. As they struggle to recall the details of the Ramayana story, and chuckle at the ones they find implausible, a variety of Hindu images enter and exit the screen illustrating their discussion. The result is not only captivating and humorous, but also brilliant as it considers some of the most puzzling questions about the Ramayana in a way that feels like a casual chat amongst friends sitting in a restaurant waiting for their masala dosas to arrive.

Then, of course, there is the music. From time to time, the story breaks to allow Sita to sing of her love and woe to the tune of 1920’s jazz singer Annette Hanshaw. Mirroring my feelings about the entire film, I found these segments to be both exceptionally clever and often unbefitting the subject matter. As a Westerner with an interest in art and music, I found the choice of these unfamiliar songs to fit perfectly with the style and humor with which the story was being told. Paley’s dusting and polishing of these old gems allowed me to gain an appreciation for a style and era of music to which I’ve never given much thought. But as a sadhaka who has devoted decades of contemplation and reflection to understanding the profound meaning of the Indian epics, this portrayal of Sita had my eyes rolling. I’ve always known Sita as the embodiment of beauty, grace, and virtue. I would never associate her pain, which I believe can only be understood by penetrating into the esoteric subject of bhakti-rasa 3, with that of a speakeasy crooner lamenting the loss of her man.

I understand that an artist should be free to express themselves according to their inspiration. And I decry the kind of backlash that Paley has received from Hindu fundamentalists that see no merit in her work.4  And while I embrace much of the feminist platform, I believe that to try to understand the Ramayana through the lens of feminism, particularly that which is fueled by resentment, is to miss its true value. While such an approach may be appropriate for interpreting an Alanis Morisette song, applying it to the Ramayana results in a very warped retelling. The greatness of the character of Rama, his heroism, kindness, wisdom, honor and the tenderness of his love for Sita, which are fundamental to the Ramayana, are entirely missed by Paley. Essentially, Paley takes parts of the Ramayana’s story and uses them to express her own feelings of pain and redemption. She is admirably frank about this: “I didn’t set out to tell the Ramayana, only my Ramayana. I wanted to be very clear about my point of view, my biases”. 5

In his review of Sita Sings the Blues, film critic Roger Ebert, who admittedly knows nothing of the Ramayana, writes “It tells the story of a brave, noble woman who was made to suffer because of the perfidy of a spineless husband…It is about a prince named Rama who treated Sita shamefully, although she loved him and was faithful to him.” A narrow and skewed idea of Rama, to be sure. But for one unfamiliar with the Ramayana, Paley’s film can lead to no other conclusion.

Paley has written that “I understand this project treads a fine line between entertainment and offense”. 6 It does, and so I’ve consciously cut her some slack and set aside my traditional understanding of the Ramayana, to appreciate her otherwise fantastic film. But I can’t help but see some humor in all this. I find Sita Sings the Blues to be fairly vivid example of how our our own experiences tend to color our perception, sometimes to ridiculous extremes. I’m reminded of the Siendfeld episode where Jerry describes the colored perception of his uncle Leo: “He’s one of these guys that anything goes wrong in life, he blames it on anti-Semitism. You know what I mean? The spaghetti’s not al dente? Cook’s an anti-Semite. Loses a bet on a horse. Secretariat? Anti-Semitic. Doesn’t get a good seat at the temple. Rabbi? Anti-Semite.”

Now in all fairness, there are elements in the Ramayana which can easily be interpreted as cruelty towards Sita. But then what to make of Rama’s evident virtue? How to reconcile the apparent contradiction in his character? His manifest virtue is indeed the reason that Sita’s banishment is such a problematic issue. There would be no confusion were he merely a narcissistic, selfish man. According to Paley “the question that I asked, and the question people still ask is, “Why”? Why did Rama reject Sita? Why did my husband reject me? We don’t know why, and we didn’t know 3,000 years ago. I like that there’s really no way to answer the question, that you have to accept that this is something that happens to a lot of humans.”

Here I have to disagree. Traditionally, to get answers to these kind of questions, one would approach someone who’s devoted themselves to understanding the subtleties of India’s great devotional literature. Ideally that person would not only have gained an academic grasp of the subject, but also lived a holy life and walked the path that these books lay-out. Someone who has repeatedly alternated between study, inquiry, contemplation and back again and who, in quiet moments has allowed the literature to speak to them and clarify its message. It’s a process in which one very consciously tries to set aside the biases developed though his or her own experiences and open oneself up to the possibility of coming in touch with a timeless truth.

The subject of Rama’s banishment of Sita has been questioned, contemplated and commented on by a variety teachers and holy people over the course of the history of the people of India. People existentially committed to the texts and whose questions are motivated by deep, living concern. The answers range from the exoteric (often involving the need for a leader to sacrifice for the good of their followers or for their character to be beyond reproach), to the esoteric (usually dealing with the depth of emotion experienced through love in separation). One such explanation can be found in the article previously published on The Bhakti Collective entitled “Radhanath Swami on Sita’s Banishment”.

Sita Sings the Blues will remain for me a film of interest, even an inspiration, but not as a genuine telling of the Ramayana. It’s narrow and irreverent approach leaves me feeling a bit estranged.  Still, I don’t want to come off as too stuffy. I really enjoyed Sita Sings the Blues and I’ll definitely be watching it again. And while it had its moments of disappointment, there were far more moments of delight.

I‘ve included a slideshow with stills from the film (below) as well as the film itself (above). (By clicking the box in the bottom right corner you can expand the film to full screen.) I encourage you to watch it and to share your thoughts below.

Jaya Sita-Ram

Kaustubha das

Related Posts: Radhanath Swami on Sita’s Banishment

  1. 1.Awards include Annecy, June 2008, Cristal grand prix for best feature film, France/Avignon, June 2008, Prix Tournage for Best American Feature Film, France/Athens International Film Festival, Sept. 2008, Best Script Award, Greece/Montreal’s Festival du nouveau cinéma, Oct. 2008, Grand Prix Z Télé, Grand Prize chosen by the public, Canada/Starz Denver Film Festival, Nov 2008, Fox 31 Emerging Filmmaker Award, CO, USA/Gotham Independent Film Awards, Dec 2008, Best Film Not Playing at a Theater Near You, NYC, NY, USA/Les Nuits Magiques, Dec 2008, Audience Award for Best Feature Film, Begles, France/Santa Fe Film Festival, Dec 2008, Best Animation, NM, USA/Boulder International Film Festival, Feb 2009, Best Animated Film, CO, USA/Film Independent’s Spirit Awards, Feb 2009, Nominee/ Acura Someone to Watch Award, Los Angeles, CA, USA/Fargo Film Festival, March 2009, Ruth Landfield Award and Honorable Mention, Best Animation, ND, USA/Festival MONSTRA, March 2009 Jury’s Special Prize, Lisbon, Portugal/Cairo International Film Festival for Children, March 2009, Jury’s Special Mention, Cairo, Egypt/Tiburon International Film Festival, March 2009, Best Animation, Tiburon, CA, USA/Big Cartoon Festival, March 2009, Grand Prix Sirin, Krasnoyarsk, Russia/ANIMABASAURI5-ANIMABASQUE, March 2009, Jury Special Award, Bilbao, Spain/Akron Film Festival, April 2009, Best Feature Film, Akron, OH, USA/Philadelphia CineFest, April 2009, Archie Award for Best First Time Director, Philadelphia, PA, USA/Salem Film Festival, April 2009, Grand Jury Award, Salem, OR, USA/Indian Film Festival of Los Angeles, April 2009, Jury Award for Best Narrative Feature, Los Angeles CA, USA/Talking Pictures Festival, May 2009, Best Animated Film, Evanston, IL, USA/Connecticut Film Festival, June 2009, Best Animated Film, Danbury, CT, USA/Festival Internacional de Cine DerHumALC, June 2009/ Signis Award, Best Film of the Official Competition, Buenos Aires, Argentina
  2. 2.Interview, Wired.com “One-Woman Pixar’s Animated Film Premieres at Tribeca
  3. 3.Bhakti-rasa – the emotional experience of loving surrender to God
  4. 4.For one example click here
  5. 5.sepiamutiny.com, March 25, 2009, “Sita Sings the Blues, Just for You
  6. 6.www.sepiamutiny.com April 21,2005 Comment 10 on “Sita Sings the Blues
Kaustubha das

An Appeal for the Merciful Sidelong Glance of Sri Radha

Sometimes called the national anthem of Vrindavan, here is Sri Sri Radha-kripa-kataksha-stava-raja (The King of Prayers which Petitions the Merciful Sidelong Glance of Srimati Radharani) from the Urdhvamnaya-tantra. Spoken by Lord Shiva and composed in a lovely meter, this exceptional prayer is daily sung in a charming melody by many Brijabasis (Vrindavan residents). CONTINUE READING THIS ARTICLE »

Kaustubha das

108 Names of Lord Krishna

Aug 13, 2009 marks the celebration of Sri Krishna Janmastami (the Birth of Lord Krishna). On this day it is a common practice to chant 108 names of Krishna. Below you will find a particular collection of 108 names composed by Srila Rupa Goswami which is included in his most beautiful collection of prayers named Stava-Mala (A Garland of Devotional Prayers). He entitled it Premendu-sagarakhya Shri Krishna-namashtottara-shata (The Ocean of the Moon of Pure Love – 108 Names of Sri Krishna) and poetically  set it in the form of a gopi pining for the vision of Lord Krishna. CONTINUE READING THIS ARTICLE »

Kaustubha das

The Holy Appearance of Sri Caitanya

To celebrate Gaura Purnima – the holy appearance of Sri Caitanya, I will share some verses of the book Sri Caitanya Candramrita by Sri Prabhodhananda Saraswati. Please forgive the lack of the original Sanskrit as well as my ignorance of the translator (Kushakrata dasa?) and the artist of the painting above. The verses below, Texts 57 through 79, comprise the Seventh Chapter of Sri Caitanya Candramrita entitled Upasya Nistha (Resolute Devotion to the Worshipable Lord). They are a beautiful example of Sri Prabhodananda Saraswati’s vivid and dramatic style. CONTINUE READING THIS ARTICLE »

Kaustubha das

Shivaratri in Vrindavan

On February, 23 the celebration of Maha Shivaratri was observed at the ancient Temple of Gopishwara Mahadeva in Vrindavan. Vaishnava’s honor the various Devas, seeing them as exemplar devotees of Lord Vishnu or Krishna. So in Vrindavan, the holy town of Krishna bhakti, Krishna devotees, following the edict of Srimad-bhagavatam, Vaishnavanam yatha shambhu,1 worship Lord Shiva as a Krishna devotee in his form of a gopi (Gopishwara Mahadeva). CONTINUE READING THIS ARTICLE »

  1. Shambhu (Lord Shiva) is the greatest of Vaishnavas
Kaustubha das

Finding Selflessness Amidst Mumbai’s Sorrow

When we see innocent people running our city streets, scrambling for shelter from acts of violence committed in God’s name, whether in Manhattan or Mumbai, it’s a good time to ask ourselves whether our religion is making us more divine or deranged. On the verge of 2009, it’s become all the more apparent that the first decade of the new millennium will, in many ways, be defined by the impact of religious terrorism on our nations, communities, families and minds. Times like these call for us to examine how our faith affects our reasoning. CONTINUE READING THIS ARTICLE »

Kaustubha das

December Vrindavan

As the busy month of Kartik1 reaches it’s end, the crowds of pilgrims in Vrindavan gradually thin. December’s cold brings a thick fog and with the change in ambiance comes a change in mood. The spirit shifts. It feels like Vrindavan is calling the soul to move from festive celebration to hushed, solemn contemplation and prayer. In the mornings one can circle the path around the town visiting holy spots veiled in haze.

Early in the morning, Keshi Ghat, usually lively with pilgrims and sadhus bathing in the holy Jamuna, becomes a lonely place. Boats sit idle on the bank. Beautifully carved sandstone piers invite you to rest a moment, take a few drops of holy water on your head, gaze up river toward the Madan Mohan Temple, and offer a prayer in silence.

This is the place where Krishna killed the horse demon Keshi who represents false pride, an obstacle on the path of bhakti. In the Bhagavad-gita Arjuna refers to Krishna as Keshi-nishudana (slayer of Keshi). His hope was that, by his divine instructions, Krishna would slay the doubts which hindered his spiritual conviction. At this spot, Krishna bhaktas have been offering similar prayers for thousands of years.

Kaustubha das

Robert Stoetzel is a New York based photographer traveling and photographing in India trough March 2009.

Related Posts: Gopurams in Sepia / Portraits from the Kunds of Govardhan / Murals of the Krishna Balaram Temple

  1. Kartik is the eighth lunar month of the Hindu calendar. It is characterized by many religious festivals especially in the North Indian holy town of Vridavan.
Kaustubha das

On Reason and Love

Bhaktivinoda Thakura was a nineteenth century religious reformer in the Gaudiya Vaishnava Sampradaya. He was a prolific author, songwriter, poet and proponent of Krishna bhakti. The following is from his article “The Temple of Jagannath at Puri” written on September 15, 1871. CONTINUE READING THIS ARTICLE »

Kaustubha das

The Reprehensible Delusions of Guruship

Sri Pillai Lokacarya (1217-1323) was a great teacher in the Sri Sampradaya who authored several works important to his Vaishnava bhakti lineage including the eighteen rahasya granthas known together as Ashtadasa Rahasya and Gadyatraya Vyakhyanam. In his Srivachana Bhushan (308-310), Pillai Lokacharya, points out three reprehensible delusions which must be avoided by the guru at all costs. Sobering words for one who would accept the role or title of guru and useful also for one who seeks a genuine guru. CONTINUE READING THIS ARTICLE »

Kaustubha das

On Santosha and Satisfying Uncontrolled Senses

vamana detail

“The entirety of whatever there may be within the three worlds to satisfy one’s senses cannot satisfy a person whose senses are uncontrolled.” (Srimad Bhagavatam 8.19.21 )

The above words of wisdom were spoken by Vamanadeva, the fifth of the Dasavatara (Vishnu’s ten incarnations), to Maharaja Bali. It’s one of my favorite verses regarding santosha (contentment), one of the niyamas in ashtanga-yoga as well as an essential quaility in bhakti-yoga. Thursday, September 11, marks the observance of Vamanadeva’s appearance. I’ve included a few verses from from Vamanadeva’s discussions with Bali. One can read a more complete telling of lila here. The painting is by B.G. Sharma.

Kaustubha das

CONTINUE READING THIS ARTICLE »

Kaustubha das

Oh, My Master’s Lotus Feet Are Bittersweet

Prabhupada stamp

Following the lunar calendar, the day after Sri Krishna Janmastami marks the celebration of the birth of Sri Bhaktivedanta Swami (September 1, 1896–November 14, 1977), the Vaishnava monk, global proponent of Krishna bhakti and founder of the International Society for Krishna Consciousness.

To honor the day I’ll share a poem penned for the occasion in 1986 by one of Sri Bhaktivedanta Swami’s disciples, Tamal Krishna Goswami. It’s a poem I find particularly edifying in understanding the nature of the relationship between guru and disciple as well as the tension between the pains and joys of renunciation. It’s entitledOh, My Master’s Lotus Feet Are Bittersweet”.

Kaustubha das CONTINUE READING THIS ARTICLE »

Kaustubha das

Sri Krishna Janmastami

Janmastami

Best wishes to everyone on Sri Krishna Janmastami!

For the occasion I thought I would offer something nice to meditate on in the form of the above painting, by Murlidhara das, and the lyrics to a beautiful song by Srila Bhaktivinode Thakura about the desire for Krishna to appear in ones heart. Both the original Bengali and English translations are included.

Kaustubha das CONTINUE READING THIS ARTICLE »

Kaustubha das

Photos of Srirangam

Srirangam Gopuram

Resting on an island in the Kaveri River in Tamil Nadu, South India, is the city of Sri Rangam and the famous Sri Ranganathaswamy Temple. Lord Vishnu is worshiped there in a reclining form along with His consort, the Goddess Laxmi. The temple complex, occupying 156 acres, was conceived as a cosmic mandala with seven concentric walled enclosures. Each enclosure is entered though magnificent, intricately decorated gates (gopurams).

I recently discovered an online travel log [rammesh.kaaninilam.com] with photos of Srirangam. What is unique about this site is the way the photos are layed out corresponding with the actual layout of the temple complex. There are over 100 high resolution photos. The site also includes great photos of the Brihadisvara Temple in Tanjore. CONTINUE READING THIS ARTICLE »

Kaustubha das

On Perceiving the Subtle in Bhakti-yoga

Verses of sb

In the Srimad Bhagavatam’s third canto, chapter twenty-nine, Kapila (an avatar of Krishna) instructs his mother Devahuti regarding how a bhakti-yogi pleases the Lord, not through empty ritual, but through recognition of the Lord everywhere, and through behavior illumined by such vision. In this translation Sri Bhaktivedanta Swami uses the term “Supersoul” (usually used as a literal translation for Paramatma) for the Sanskrit bhuta-atma and atmanam, referring to the four-armed form of Lord Vishnu residing in the hearts of all beings, who acts as the overseer and the enabler of their actions as well as the friend who reminds them of how to act towards their own advancement. CONTINUE READING THIS ARTICLE »

Kaustubha das

Yoga Journal’s Abstract Impressions of Bhakti

Yoga Journal’s June, 2008 issue features an article by Nora Issacs entitled “Everyday Ecstasy – See the Divine in everything, when you practice bhakti, the yoga of devotion”. In the magazine’s Editor’s Letter it is mentioned, “we welcome the criticism and praise we receive from readers – it helps us to ‘refine our alignment’ and explore beyond our normal boundaries”. In this spirit, I’d like to offer some constructive criticism. CONTINUE READING THIS ARTICLE »

Kaustubha das

The Lila of the Bewilderment of Brahma

Brahma-vimohan front

Those who, even while remaining situated in their established social positions, throw away the process of speculative knowledge and with their body, words and mind offer all respects to descriptions of your personality and activities, dedicating their lives to these narrations, which are sung by you personally and by your pure devotees, certainly conquer your Lordship, although you are otherwise unconquerable by anyone within the three worlds. (Lord Brahma’s Prayers to Lord Krishna, Srimad-bhagavatam 10.14.3)

Today I’ve posted a painting Brahma Honors Krishna and an excerpt from its commentary from the book Intimate Worlds: Indian Paintings from the Alvin O. Bellak Collection. The commentary, by art historian John Seyller, briefly tells the Brahma-vimohan lila (the pastime of the bewilderment of Brahma). Some nice details about the painting’s design are included. CONTINUE READING THIS ARTICLE »

Kaustubha das

Hari Sankirtan

From A Portrait of the Hindus: Balthazar Solvyns
& the European Image of India 1760-1824

Sankirtan-detail

More from Robert Hardgrave’s A Portrait of the Hindus: here is Balthazar Solvyns’s etching of a kirtan gathering in 18th century Calcutta. The term sankirtan – a compound of the Sanskrit words san (together), and kirtana (glorification) – refers to the practice of congregational singing of the holy names of God, especially in public, as a practice and expression of bhakti. CONTINUE READING THIS ARTICLE »

Kaustubha das

Sri Krsna-Lila-Stava

Lila stava

The Bhaktivedanta Book Trust has recently published Sanantana Goswami’s Sri Krishna-Lila-Stava: Adoration of Krishna’s Pastimes . Sanantana Goswami (1488-1558) was the senior most of Vrindavan’s “Six Goswamis”, all influential teachers of the bhakti path. The description below is adapted from the book’s dust jacket. CONTINUE READING THIS ARTICLE »

Kaustubha das

An Etching of the Khol

From A Portrait of the Hindus: Balthazar Solvyns
& the European Image of India 1760-1824


Khol detailAs promised, from Robert L. Hardgrave’s A Portrait of the Hindus, Balthazar Solvyns’s etching of the khol or mridanga drum. Here, I’ve provided a detail of the etching. The entire image can be found below. I’ve included an excerpt from the description by the artist, Balthazar Solvyns, and below that, an excerpt from Robert Hardgrave’s commentary, (I’ve not included the footnotes). One observation of my own: it appears that the musician is wearing, around his right ear, a small pushpa-mala (flower garland). CONTINUE READING THIS ARTICLE »

Kaustubha das

A Portrait of the Hindus

A Portrait of the Hindus

Recently, while browsing the shelves of Strand Book Store, one title caught my attention: A Portrait of the Hindus: Balthazar Solvyns & the European Image of India 1760-1824 by Robert L Hardgrave. Published by the Oxford University Press, the 568 page book measures 9×12, with 287 halftone and 78 color illustrations. In the following days I will be posting some images from the book along with excerpts from the commentary. CONTINUE READING THIS ARTICLE »

Kaustubha das

The Ornaments of a Sadhu

titikshavah karunikah
suhridah sarva-dehinam
ajata-satravah santah
sadhavah sadhu-bhushanah

The symptoms of a sadhu are that he is tolerant, merciful and friendly to all living entities. He has no enemies, he is peaceful, he abides by the scriptures, and all his characteristics are sublime. (The Vishnu avatar Kapiladeva to his mother Devahuti, Srimad-bhagavatam 3.25.21)

There is an apparent irony in the term sadhu-bhushana, (sadhu-ornaments). The stereotypical image of a sadhu is that of an ochre-clad, long bearded, Hindu ascetic who sheds all ornaments save for a string of beads and a mark of sacred clay. CONTINUE READING THIS ARTICLE »

Kaustubha das

From Kulashekhara’s Mukunda-Mala-Stotra

Kulashekhara

Michael Bühler-Rose’s recent post, explaining ritual as a means to heighten spiritual mindfulness, reminded me of the following verse. In his Mukunda-Mala-Stotra (A Garland of Verses in Praise of Vishnu/Krishna) Kulashekhara Alvar derides observances and practices of sadhana performed in forgetfulness of Lord Narayan. Kulashekhara was the tenth of twelve Alvars, South India’s mystic poets whose writings served as inspiration for the acharyas of the Sri Vaishnava Sampradaya. CONTINUE READING THIS ARTICLE »

Kaustubha das

A Madman’s Discourse on the Workings of the Mind

bharat-deerSometimes the most insightful counsel comes from the least expected source. The Sanskrit epic Srimad-Bhagavatam (also refered to as the Bhagavat Purana or simply, the Bhagavatam), depicts the life, or more accurately lives, of Maharaja Bharata. CONTINUE READING THIS ARTICLE »

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