Article about Categorization of Prabhát Saḿgiita of Dearest Shrii Prabhát Raiṋjan Sarkár on the occurrence of 43rd year jubilancy
PERCEPTIVE PRABHÁT SAḾGIITA IN EPOCH STYLE
by Acarya Gatimayananda Avadhuta(CTS, Sweden)
The beauteous and diverse nature of Song, Dance, and Instrumental Music on the occasion of 43rd Prabhát Saḿgiita Divas must be rejoiced by each and ever-creative Ananda Margii devotees on 14th September, 2025.
As we are now at the verge of analogue world, the knowledge of the ancient musical tradition reflects the universal languages of song, dance, and instrumental music which have been integral to human expression and culture for centuries.
These musical art forms of musical heritage has ordained by inventing 5018 Prabhát Saḿgiita by Mahásambhúti Shrii Prabhát Raiṋjan Sarkár in 8 languages the lyrics in Bengali, English, Saḿskrta, Hindi, Urdu, Magahi, Maithili and Angika which have the power to transcend borders of the universe, enkindle feeling of ecstatic bliss for music lovers of the Great, and bring people of the Great Cosmic Fatherhood together like nothing else can, which Beloved Baba composed contributing by deliberating the Shiva’s contribution to music in His Shivology discourses which is below for reference, so we’ll explore the beautiful and diverse nature of song, dance, and instrumental music, highlighting Prabhát Saḿgiita significance and impact on our lives to our coming generations for centuries.
Prabhát Saḿgiita is a Universal Language euphony which is a powerful medium of expression that can convey devotional sentiments of thought projections of Creator, Sustainer and Destroyer in poetic evolutionary narration in musical composition starting in Deoghar on 14th September the first Saḿgiita “Bandhu He Niye Calo” with endurance contest series until His last day 20th October, 1990 with staggering Saḿgiita of last song number 5018 about “Gurukula” by revealing the truth, and preserve cultural heritage from classical music to folk songs, wedding, devotional of all categories, revolutionary, mystical, women, ballads, children, liberation, attraction for contemplation, enlightened longing, and from soulful melodies to energetic rhythms etc., Prabhát Saḿgiita symphony of the universe is never ending theme which arouses the ability to evoke strong attraction and create a sense of connection amongst devotees of the Great.
Whether it’s depicting the Saḿgiita based on individual and collective aspirations about spiritual realization of devotees, cosmic cycle of creation, social cycle of prout philosophy, or songs related to Shiva’s and Krsna’s attribution in Saḿskrta or persian lyrics, different melodies of Scandanavian, Chinese, Arabian, or a soothing lullaby or an uplifting anthem, Neohumanism, psycho-spiritual realization of Dharma, Artha, Kama and Moksa, or various seasons, festivals, birth and departure songs, sadhana realization, sadvipras, tandava dance, samaj movement, tribal, clan, animals, birds that is flora and fauna songs to name such unlimited ideas etc.,, Prabhát Saḿgiita has the power to touch our hearts and souls in all realms and facets of human knowledge.
Prabhát Saḿgiita has a dynamic expression which can be performed in dance form which is a dynamic and expressive art form of carnatic, hindustani, western etc that combines movement, rhythm, and occidental or oriental emotion. From classical ballet to contemporary, and from traditional folk dances to modern styles, Prabhát Saḿgiita music can be danced which has the ability to convey complex emotions and express tale without words. Prabhát Saḿgiita dance can be a powerful form of self-expression, a way to connect with others, and a means of preserving cultural traditions of all civilization.
Now regarding Instrumental music, Baba in His Prabhát Saḿgiita has blended the beat of life of Percussion which is the backbone of music, providing the rhythm and energy that drives a song or dance forward. From the subtle refinement of a tabla and various instruments of east and west orchestra to the energetic beats of a drum set, percussion of various instrumental music has the power to evoke sentimental dramatist, create subtle vibrational acoustic, and bring people together. So Instrumental percussion is an integral part of many cultures, with each tradition having its unique rhythms and techniques founded by talented artists from all over the world.
Diversity and Cultural Significance can be played based on Prabhát Saḿgiita songs which is in the diversity of song, dance, and instrumental percussion which has a reflection of the rich cultural heritage of human societies.
Beloved Baba knew each culture has its unique traditions, styles, and techniques, shaped by history, geography, and social context so Beloved Baba from the intricate footwork of Indian classical dance to the energetic rhythms of African drumming, each tradition has its own beauty and significance like Ajay valley, Italy, Spain, Portugal, Bengal, Malraki valley, Albania, Belgium, China, Kangasvati, Damodar, 1500 year old Buddhist Tantra, Giiti Roy, Suvarnareka valley, Scandinavia, Middle East, Europe, Ganga valley, Aosta valley, 2000 year old Punjabi, Kashmir, Persian, Karnataka, South India, with melody Gharana of Ghazal, Qawwali, from Raga of Diipaka from time of Shiva, Shivaranjani, Jaunpuri, Tappa, Tintal, Bageshrii Gharana etc which can be played by Prabhát Saḿgiita melody.
The Impact of Song, Dance, and Instrumental percussion all this Prabhát Saḿgiita Song, dance, and instrumental percussion have a profound impact on our lives, influencing our characteristic bearing of sentiments, both devotion and emotions, thoughts, and behaviors. They have the power to:
– Evoke strong emotions and create a sense of connection
– Preserve cultural heritage and traditions
– Provide a means of self-expression and creativity
– Bring culture together and foster community
– Influence our mood, energy, and well-being in all-around development of physical, mental and spiritual.
Thus Prabhát Saḿgiita has such an impact, that Baba has rendered on all 5018 compositions beautiful rendering rhythmic wave pattern and diverse nature of song, dance, and musical percussion which is a testament to the creativity and expressiveness of human societies which can be adopted throughout the world.
These musical art forms have the power to transcend delimitation, by appreciating and celebrating the diversity of song, dance, and musical percussion, based on Prabhát Saḿgiita, so that we can foster greater understanding, fellow feeling, and connection among humanity from different cultures and backgrounds.
Namah Shiváya Shántáya (“Salutations to Shiva the Tranquil”) the Shivology, which Baba gave as weekly speeches started on 11th April, 1982 in which Baba removes the veils of 7000 years of Itihasa, so Baba begins that “Sadáshiva” means “whose only vow of existence is to promote the all-round welfare of all living beings”, and Baba says, “From the very beginning “Sadáshiva” was omnipresent entity, and also writes Saḿskrta, the common language of the indigenous people of the then India, was not outside the orbit of influence of the Vaedic language; but that influence was not unilateral; that is, the Vaedic language was also influenced by the Saḿskrta language. Tantra had its origin in India, and Shiva gave a systematic form to it….
Up until this day, human beings have not made a proper appraisal of this Great personality, this Mahásambhúti, who gave human beings their first opportunity to experience the sweet joy of fulfilment of all their longings. No one has discussed Him much up until now.
Why people failed to make this appraisal is irrelevant today. It is the firm duty of every individual to know and evaluate the exact contribution of Shiva.
On 18th April 1982, at Calcutta the Discourse 2 of Shivology, was about “Shiva – Both Severe and Tender”. In my previous discourse I said that humans came onto this earth about one million years ago. But human civilization is at most 15,000(fifteen thousand years) old. If the first mańd́ala [chapter] of the ancient RKveda is accepted as the starting-point of civilization, then the age of civilization will not exceed 15,000 years… Shiva advised His followers,”Don’t create conflicts among yourselves in the name of gotras(hills)”….In the social sphere, Shiva played a very active role in removing the distinctions among the members of society. So the people of those days were acquainted with chanda, but not with the Muscial Surasaptaka… After close observation, Shiva concluded that the sounds produced by various birds and animals maintain a harmonious adjustment with the undulations of the sound waves of the universe. The eighth step, the eighth note, of this harmony comes closest of all to the first note. Based on the sounds of seven creatures, Shiva evolved the (seven musical notes) Surasaptaka. This musicial surasaptaka, which made the rhythm sweeter and more graceful, includes the sounds of śad́aja [peacock], rśabha [ox], gándhára [goat], madhyama [horse], paiṋcama [cuckoo], dhaevata [ass] and niśáda [elephant]. By taking the initials of the seven sounds – sá from śad́aja, re from rśabha, gá from gándhára, má from madhyama, pá from paiṋcama, dhá from dhaevata and ni from niśáda – Shiva made the musical seven notes – sá-re-gá-má-pá-dhá-ni; At the eighth step, the first sound of the octave is repeated, although in a different scale. Thus inventing the seven musical notes, Shiva made the world of rhythms sweeter and more delightful. This was no ordinary achievement. The music of the present-day world is entirely based on these seven musical notes. It is a matter of great regret that people have forgotten this science of music, whose foundation was laid by the intense efforts of Shiva. Shiva did not give a systematic form to Saḿgiita(music) only – even to this day people utilize the fruits of His research in the field of phonetics.
Phonetics depends on the science of breath, on inhalation and exhalation. Also on the basis of the science of breath, Shiva invested the world of rhythm with mudrá.
Shiva established harmony between Giita(Song) and Nrtya(dance), and added Mudrá to them. In the pre-Shiva society of the RKvedic Age, there was chanda, but no Mudrá.
Then how did Shiva introduce mudrá in Saḿgiita?
Shiva observed that in the bodies of different creatures, the various glands were either over-active or under-active, either over-secreting or under-secreting. As a result, these creatures expressed themselves in various ways. Shiva intensively researched all these factors, and finally invented mudrá. Each and every mudrá affects certain human glands in a particular way and thus influences people’s minds accordingly. This was Shiva’s unique contribution to the world of dance. In those days, people wrongly considered the random movement of the limbs to be Nrtya(dance); later, to this random movement of the arms and legs, were added a few Vedic rhythms. But that certainly cannot be accepted as classical Nrtya(dance). Only after the addition of Mudrás was it elevated to the status of classical dance. Regarding the Táńd́ava dance invented by Shiva, I will speak a bit later. Then again, the mere beating of drums is not the art of Vádya [percussion]. This should be harmonized not only with chanda and the musical scale, but also with the rhythms and mudrás of the Nrtya(dance). Shiva Himself added all this to the art of percussion; prior to Him, it was completely unknown…Shiva gave a systematic form and definite structure to everything which was not well-formulated until then. He provided a system not only for Saḿgiita(music) but for each and every expression of human life, so that everything might progress in a rhythmic way, so that nothing would be done haphazardly.
Shiva felt great compassion for those afflicted people and, making them sit beside Him, advised them how to solve their physical, psychic and spiritual problems. Shiva used to live on a hill, and all kinds of people from far and near would flock to Him. He would call them with… His viśáńa, His long horn… PRABHAT SAMGIITA II AMAR KANU || DANCE DRAMA || BY TEAM RAWA ASSAM || CLICK HERE FOR MUDRAIC DANCE
(57) Spread out the sermons of amity amongst the humanity. Remind one and all that the establishment of human excellence does not lie in hypocrisy but in simplicity and sincerity. Make them all realize that every individual human problem, whether big or small, is the problem of universal humanity. Make them also understand that the origin as well as the finality of the entire humanity is one and the same.
1st January, 1982
(58) All the beings of this universe are the kith and kin of one another. No one is despicable. All are equally respectable and entitled to equal love and affection. No problem is to be ignored as an individual or group affair. Every problem is to be considered as the collective problem of universal humanity and is to be resolved collectively and resolved it must be.
Let it be the vocal panorama of the newer world of today – the continuous musical notes behind the movement of Neohumanism.
Ánanda Púrńimá 7th May, 1982
Thus BABA knows when He reveals His Ananda Vanii memo what are His blue print for that particular year so it is above our human cranium to understand His absolutely omnipresent thought projection that can be reflecting when you go through both Ananda Vaniis of New Year and Ananda Purnima of 1982, that Baba contributing Shivology, Neo Humanism[In The Liberation of Intellect: Neohumanism, Shrii Prabhat Ranjan Sarkar has laid the foundations of this sublime yet uncompromising philosophy. The eleven chapters of this book were delivered as discourses, mostly as Sunday discourses, between December 31st 1981 and March 29th 1982] and Prabhát Saḿgiita all in the same year.
BABA’s INCIDENT/STORY from “Archive for categories related to Prabhát Saḿgiita”
Baba about His grandmother’s incident story.
Baba says, that His grandmother was singing one bhajan every day. And while singing, she was crying. The meaning of her song was, “Oh Parama Purusa, You have given me everything. Even without my asking. But in return, I did not give You anything. Only I have expressed my desire to get more
and more.” With this feeling of gratitude towards Parama Purusa, Baba’s grandmother was singing and crying.
And Baba added, that “Based on this idea I wrote this Prabhat Saḿgiita #209
– ‘Tomare asiim apa’r bhalobhasar vinimaye haye ki va diyechi’”
Meaning: In return of Your infinite love and care towards me, Oh what have I given to You…I have given nothing.
Baba’s incident about Prabhát Saḿgiita AT JAIPUR DMC
One unforgettable scene occurred in Jaipur DMC, March 1984 during the Prabhat Saḿgiita section. When the performance of the song finished, then per His usual divine way Baba started giving the purport and explaining about the blending of tunes and its history. And He told that that this very song was based on a blending of Persian and Indian tunes.
Then, as Baba was concluding His explanation, Baba told in a very sweet way that, “It is good that all the margiis have quickly learned how to sing Prabhat Saḿgiita”.
(Note: Here we must remember that at this point the official programme of Prabhat Saḿgiita had started only one and a half years earlier in Sep 82; so it was still relatively new. By March 1984, at the time of this particular DMC incident, there were approximately 1380 Prabhat Saḿgiita already composed by Baba in that short time period.)
So after telling the margiis that: “It is good that all the margiis have quickly learned how to sing Prabhat Saḿgiita”.
Then Baba immediately added that, “I was also thinking to teach dance also as this is an essential component of Saḿgiita. But I did not do so because I thought that if I start teaching dance, then I will not have time to do other things. After all I have so many organizational duties and responsibilities. So if I had started teaching dance then when will I get time for those other important works?”
After saying this Baba Himself kept quiet for a few seconds and everyone present also remained motionless– not saying anything.
And then Baba began smiling and in a jovial & joking way, Baba asked PA Ramananda Avadhuta ji, “Why is everyone keeping quiet? Is it because they are feeling relieved because if Baba had started teaching dance, then they all will also have to dance during the time of Prabhat Saḿgiita. With this fear, all are keeping quiet?”
By this way everyone understood that through the medium of humor Baba is guiding us that learning the way to dance Prabhat Saḿgiita is to be considered as highly significant in the life of a devotee– it is one of the essential things. And everyone understood that this endeavour of dancing Prabhat Saḿgiita is to be developed and passed on from one sadhaka to the next.
DURING THE TIME OF GLOBAL DMC AT ANANDA NAGAR
At Ananda Nagar DMC in the late eighties, when Prabhat Saḿgiita was going on Baba was giving the instruction that “Everyone has to follow the lead of the singer and try to synchronize their voices in that way– otherwise I will become very upset and scold you.”
Then Baba started smiling and began looking toward PA and then Baba looked back again toward the Margii devotees, and He told “Alright if you do not like that I should scold; then I will not scold.”
Seeing Baba’s most loving and charming expression then all sadhakas present felt a sweetness permeate the environment. And everyone naturally understood through His tender and light expression that underneath was the highly important concept of singing Prabhat Saḿgiita according to the correct style.
From that point on everyone did indeed try and follow Baba’s guideline to properly follow the leader of the singer during Prabhat Saḿgiita.
THE TRIFARIOUS WORLD OF PRABHAT Saḿgiita
Each and every Ananda Margii is aware that Baba’s Prabhat Saḿgiita compositions are unique and that, there is no English equivalent term for the Samskrta word ‘Saḿgiita’.
Because Prabhat Saḿgiita does not just mean merely singing. More precisely Saḿgiita entails three components: (a) song; (b) music; and (c) dance. And when these three components are moving together in a synchronized way, then it is known as “Saḿgiita”.
Baba says, “The collective name of dance, song and instrumental music is sam’giita. The word giita is derived from the root gae plus the suffix-kta.” (PNS-10)
“Lyrics of the song should directly reflect Parama Purus’a Himself. And this category of song, directly reflecting Parama Purus’a is known as Kiirtan.
The other category of song that also reflects Parama Puruśa, but which expresses many tangential ideas before returning to the one central idea of Parama Puruśa, is called bhajan. This is the basic difference between bhajan and kiirtan.” (AFPS-3, p.11)
