VEDA NADA SARIT

(A Monthly Bulletin of Nada Veda’dhyayana Kendra, Bengaluru)

(For private circulation only)

ISSUE 273 VOL CCLXXII DECEMBER 2023

Chief Editor Dr. C. L. Prabhakar Editors: Dr. Anjaneya Prasad, Sri Surendra Pujar

SOBHAKRUT SAMVASTARA SUBHA VEDASEEH ASTU (2023)

Prajapate na tvadetannyanyno paritaa babhuva

Yatkamaaste juhumah tanno astu
Vayaggum syama patayo rayeenam : Mahanarayana Up

ANNOTATION: This is the Mantra in prayer to Prajapati,
the father of all in the creation. Prajapati is the Deity in
charge of Creation at the command of Sri Maha Vishnu. We
have to be submitting prayers to him every day since we an-
nounce that the desire with which we worship you have got
to be fulfilled by you. Moreover, we have to become owners
of richness and fulfillment. Prajapati is thus praised because
he is the Lord who encompassed any and every object in the
creation both internal and external.
Mahanarayana Upanishad is a valuable Upanishad among
many Upanishads whose number is indefinite. Every Veda
has Upanishads. But the Yajurveda Upanishads like Tait-
tiriya, Mahanarayana, Isa is on desk of many since they
are academic, ritualistic tenable for employment for various
benefits. This mantra is having many applications. For
example, this mantra is included in many sets of mantras.
This mantra is in the set of Navagraha mantras for Saturn
planet. He is submitted with prayer to bless all prosperity.
It could be employed as mangalharati mantra. This mantra
submits a fond prayer that ‘vayam syama patayo
rayeenam’ meaning basically we be the owners rather lords
of wealth which would be basis for positive happiness also.
Also, it is mentioned that with what desire in view we wor-
ship, let that desire be granted. After all, prayers are made
but the sanction is at the desire and discretion of Prajapati,
the Paramatma because he pervades all and everything. In
fact, after every vrata and Yajna we are supposed to utter the
declaration that: Prajapateh prajaa babhuma. We indeed
have become the true children of Prajapati.

IN THE SERIES OF PRAVACANA MALIKA: 29

On 19th November 23, under this series there was a talk on
‘the status of Taste, food and hunger in the 21 st century.
The key note speaker was by Dr. kiruba Krishnaswamy.
Associate Professor in Food Engineering, MU, Columbia.
Concluding remarks were offered by Dr. Anjaneya Prasad,
Professor in MU, Columbia, USA. Dr Sistla Purushottam,
NVAK Veda Student offered comments and Dr. Gopichand
offered vote of thanks. Sangitanjali was rendered by
Chi.Mahesh Duvvuri, a High School Student USA. Veda
Prayer was by Sri Siva Lingaiah, NVAK Vidyarthi. Dr C.L
Prabhakar, Director of NVAK made introductory speech
welcoming the Key note speaker and others. He introduced
the theme of the talk. There is History of Taste, a talk in the
Alamkara Sastra and other branches of knowledge. In Sci-
ence and physiology what the taste means is being victori-
ously clear and that is explained by the speaker. Food is a
very important item in life as it originates and maintains en-
ergy and life and happiness in all. As a result, one has to be
choosy and careful at the menu one consumes perday.YV
provides a prayer thus: annapate annasya no dhehi
anameevasya sushminah pra pra daataram taarisham !
sanno astu dvipade soam catushpae. Annapati is Agni
who is the Energy embodiment of Annapurnadevi the
Goddess of Universal power. Hunger is the signal to eat and
that is to be attended too. Hunger is a pain and comfort. In
21st Century there is lot change in people. As a result, we see
many problems doctors and medical establishments. But if
Food is consumed with a spiritual tinge, it works safe for
safety from illness (anameevatva) giving rise for energy and
activity(Sushma ).The keynote talk was scientific with
clear sides to impress the scope of the food and hunger for
prosperity. Hunger and food are constant in beings but ju-
dicipos care to them turns important.
. The whole program was simply educative and elevating the
minds. That was urging enough that one has to look up for
happiness, Ecstasy and Relief attending on the formulas and
care on the consumption of Food. Also, the whole lecture
with significant slides shared which are included in the Veda
Ganga Volume 29 released recently. The event is also in
NVAK You tube.
 VEDA MANTRA EMPLOYED FOR purnahuti in homas IN WORSHIP
Dr. Boddupalli. Raghava,NVAK, Bangalore
ओम् ॥ पूण(॒मदः॒ पूण(॒िमदं॒ पूणा( /
॒ ूण(॒मुद॒1ते । पूण(॒5
पूण(॒मादा॒य पूण(॒मेवाविश॒9ते ॥
- Bṛhadāraṇyaka Upaniṣad, 5-1-1
Introduction:
This mantra is revealed as a Shanti Mantra (Peace
Prayer) in the Īśāvāsya and the Bṛhadāraṇyaka Upanishads.
Both these Upanishads belong to the Śukla Yajurveda. This
mantra is generally chanted as a prayer before the study of
the Upanishad. All living creatures on this earth and the
whole universe originated from the God. In light of this, the
mantra proclaims the truth that loving the nature and all
other living beings itself loves the God.
Word Meaning:
पूण(म् – Omnipresent Brahman; अदः – that (Brah-
man); पूण(म् – Omnipresent Brahman; इदम् – this phenome-
nal world; पूत्( णा – from the Omnipresent Brahman; पूण(म् –
Omnipresent Brahman; उद1ते – emerges/is produced;
पूण(5 – of the Omnipresent Brahman; पूण(म् – Omnipresent
Brahman; आदाय – having been taken away; पूण(म् – Omni-
present Brahman; एव – only/even; अविश9ते – is remaining.
Translation
The Personality of Godhead is perfect and com-
plete, and because He is completely perfect, all emana-
tions from Him, such as this phenomenal world, are per-
fectly equipped as complete wholes. Whatever is pro-
duced of the Complete Whole is also complete in itself.
Because He is the Complete Whole, even though so many
complete units emanate from Him, He remains the com-
plete balance.
Meaning of the Mantra with the Commentary of Sri San-
karacharya:
purnam adah - That ultimate Brahman is omnipres-
ent. Nothing remains without being pervaded by Brahman.
It is like the Akasha—found everywhere, continuous and
without a limitation; purnam idam - This, which is perceived
as limited (the manifest world) and is subject to name and
form, and is involved in (worldly) transactions, is in essence
also Brahman; purnat purnam udacyate - This effect-Brah-
man (the manifest world) emerges from the causal-Brah-
man; purnasya purnam adaya - By (Atma)-vidya that im-
parts the oneness of the consciousness everywhere, over-
coming ignorance of separateness and understanding that
even the manifest is the expression of that Brahman; purnam
eva avashishyate - Only the omnipresent Brahman, which is
present both within and without, and which is of the nature
of pure knowledge and consciousness, remains.
Explanation:
As evident from the lucid yet profound commentary
of Sri Adi Sankaracharya there are three major ideas for re-
membering and meditating upon:
Everything is Brahman—both the manifest world and the
pure Consciousness—this is the ultimate truth of our exist-
ence,
There is a cause—effect connect between the Brahman and
the manifest world,
Though this is the truth and the fact, still one has to take in
(adaya) the reality, do the Sadhana towards acquiring this
knowledge. Else, the truth will remain merely academic and
the realization will be elusive.
The completeness of human life can be realized only
when one engages in the service of the Complete Whole. All
services in this world – whether social, political, communal,
international or even interplanetary – will remain incom-
plete until they are dovetailed with the Complete Whole.
When everything is dovetailed with the Complete Whole,
the attached parts and parcels also become complete in
themselves.
Further, this is a Shanti Mantra because peace will
reign only when this Upaniṣhadic truth about the essential
oneness of our existence is taken in. As long as our existence
is governed by the perceived apparent separateness, there
will be strife, stress, and suffering. This sincere prayer about
the Purnam will flood all the gaps and dents with pure ex-
istence, knowledge, and bliss (sat-cit-ananda) and grant
peace.
This is a mantra of the most significant statements ever made
anywhere on earth at any time. The mantra contains the
whole secret of the mystic approach towards life. This man-
tra contains the essence of the Upanishadic vision. Nothing
is insignificant and nothing is smaller than anything else.
The part represents the whole (entirety), just as a fig seed
contains the strategy for the next generation.
Benefits of the Mantra
Practicing Veda mantras systematically, diligently, and with
total concentration will lead to a state of complete healing
energy, and this will allow the physical, mental, and ener-
getic body to regain its natural state.
To truly understand the transformative power of the Veda
mantras, we need to realize that any form of sound in the
creation is vibrational energy. This mantra is traditionally
recited 108 times, and it can be done either in silence or out
loud. When recited with intention, the mantra can help to
bring about inner peace, clarity of mind, and improved phys-
ical health. Additionally, the mantra is believed to promote
spiritual growth and increase our connection to the divine.
For these reasons, the Om Purnamadah Purnamidam man-
tra is an excellent tool for anyone seeking personal growth
and transformation.
 STOTRA BODHA SERIES - 29:
IMPORTANCE OF SYAMALA DANDAKAM OF KALIDASA
Prabhakar NVAK Veda Student.
The stotra Bodha event by the NVAK & WAVES, Banga-
lore Chapter was organized on12th, the Sunday, the Novem-
ber 23 on the ‘Essence and importance of syamala danda-
kam of Kalidas. Key note Speaker was Smt. Sandhya Gali,
Atlanta, USA, concluding remarks by RitaMatchew , and
elaborate comments and vote of thanks by Dr. Shanta Shai-
valini, NVAK well-wisher and Scholar. Sangitanjali was
rendered by Smt. Veena Ramesh, NVAK student. Veda-
kusumanjalin was offered by NVAK students. C.L. Prab-
hakar, the Director of NVAK introduced the speaker and the
subject of deliberations for the day.
Syamala Dandakam is the stotra grantha attributed to famo
us Poet Kalidasa who lived in 5th century. This is an unique
composition in prose with 26 sentences of glory bringing the
beauty, power, and identifications of Devi Syamalamba who
is the Minister (Mantrinee) of Goddess Tripura Sundari, Sri
Lalitaparamesvari. Syamalamba has all the the skill and ex-
cutive management of land and people. So Devi entrusted
the supervision of the Rajya on her er (mantrininyasta Rajya
PROFILE NOTE ON Dr (Mrs) T Seetharamalakshmi, Professor of music (Retd)
The term Veda comes from the root 'Vid', to know. The Ve-
das are the eternal truth, THE ETERNAL KNOWLEDGE
revealed by God to the great Rishis of India. The knowledge
contained in it is vast and varied, covering alchemy and as-
tronomy and music to mathematics.
Nada Veda Adhyayana Kendra, Bangalore under the able
Administration of Dr. CLP and Dr. Smt.TSRL endeavors to
give a thrust to preserving and propagating this great litera-
ture, legacy and heritage. Since the inception in 1994, the
tireless efforts and the contributions of this Kendra towards
this goal have been phenomenal.
Smt Dr TSRL, a musician and a musicologist has vast
knowledge of music and decades of experience in various
prestigious institutions in senior positions.
As captain who steers the ‘Nada’ wing of this institution her
contribution to the world of Carnatic music and Bhakti
Sangeet in particular has been significant.
The wing under her leadership has committed to propagat-
ing and popularizing the literature of the saint composers of
India. Her contribution to the promotion of “Annamayya
Literature “has been exceptional that needs a special men-
tion.
An exponent who has mastery over thousands of musical
compositions has pledged to impart her knowledge to the
betterment of the community. With this goal in mind, she
has been training numerous students’ batch after batch for
decades. She has had students from all walks of life - from
dhuh.) as attested in Lalita sahasranama stotra.. She is the
right hand of Support to Lalita. However, Syamalamba is the
Jnana murti and holds in her hand a book which contains the
essence of all Knowledge (cf. Jnanasaratmikam pustakam).
Further the dandakam is in three parts namely that devi and
her beauty exquisite and all excelling, Her mahima par ex-
celleance and her Her identifications wholly with the nature
and more. As a result in a brief scope the classical poet has
covered the grace and kindness, power and execution, love
and affection on bhaktas right form to all in the Creation be-
ginning from indra and down to humans and further. It is
like the expression glory that she is the guardian of one and
all. Her beauty is so superb that there is no comparison.
Whole program is on You tube of the NVAK. Smt Rita
Matchew speech was filled with emotional experience that
Syamala devi is live and blessing. Full article on this Dan-
dakam can be noted printed in Vedaganga vol 29 just re-
leased on the 29th Annual Day of the NVAK and WAVES,
Bangalore Chapter.
Smt Geeta Srinivasan
the very young to the very old and from scholars to the to-
tally untrained. Passion was only the key.
Her contribution to the genre is more than performing. She
has donned several roles – vocalist, violinist, musicologist,
educationist, tireless researcher and head of prestigious in-
stitutions.
Music is a celebration to her. There are festivities all around
the year in the Kendra with celebrations of Thyagaraja
Aradana, Purandara dasa mahotsava , Annamayya Aradana
and performances across religious and cultural institutions
and temples all year through. Besides, there are weekly and
monthly musical and religious events such as Soundarya La-
hari and Narayaneeyam parayanas.
She was passionate about music. All her disciples would
vouch for the engaging and exciting learning cum practice
sessions they had with her in the somber afternoons in the
serene central hall of the Kendra. Her interesting explana-
tions and deeper meanings of the compositions she was
about to teach, as an intro, made the students appreciate the
greater messages of the divine composers. It would feel like
a family get to gather. Her musical anecdotes and funny mu-
sical recounts would be so enjoyable they were worth the
week’s wait
She was inclusive. For every performance, she would lay
huge emphasis on the students’ interaction and involvement
right from the selection of the compositions, short-listing,
practice schedules, rehearsals to many other nitty-gritties of
the events such as even dress codes. Her child like
enthusiasm is a sight to behold. Though being group perfor-
mances, she would go an extra mile to encourage and show-
case the special talents of the individual students also. The
true mark and characteristic of an ideal guru.
It is with great pleasure, pride and reverence we thank God
for having blessed us with the opportunity of learning from
DURGA TARANGAM: A NOTE
A song written by Narayan tirtha adoptable to Dance
Kūchipūdi.Kuchipudi is a dance drama tradition and derives
its name from the village of Kūchipūdi, Krishna District,
Andhra Pradesh, a southern state of India. In recent years it
has evolved as a solo dance for the concert platform and is
performed by women too, though it was formerly the pre-
serve of men. The female roles were enacted by men and
even today, the tradition boasts of gifted male dancers en-
acting female roles with such consummate artistry that
hardly anyone would notice them as male dancers.
The movements in Kuchipudi are quicksilver and scintillat-
ing, exciting and intelligent, rounded and fleet-footed. It is
now performed to classical Carnatic music. The main source
of the Chatur- Vidha Abhinaya, the fourfold expressions of
Kuchipudi, is the treatise on dramaturgy, Natya Shastra writ-
ten by Sage Bharatha muni.
In 16th-17th century, Kuchipudi style of Yakshagana was
conceived by Sri Sidhendra Yogi, who is known as the fa-
ther of Kuchipudi, a visionary, who had the capacity to give
a concrete shape to some of his visions. He was steeped in
the literary Yakshagana tradition guided by his guru Shri
Narayana Theertha, who composed Sri Krishna Leela Tha-
rangini in Sanskrit.
It was Guru Vedantam Lakshmi Narayana Sastry, who in-
troduced various new elements to this dance style, including
the solo dancing and training of the female dancers in this
dance style.
Kuchipudi carries sensuousness and fluidity along with the
lined geometrical movements. Like all other classical dance
forms of India, Kuchipudi is both interpretative and lyrical
making use of abstract dance sequences as well. Stress on
dramatic outlook is one of the salient features of Kuchipudi.
Because of these qualities and features, Kuchipudi dance en-
joys great popularity and is recognised as one of the leading
classical dance styles of India.
Sri Narayana Theertha (1650-1745 AD), wrote the magnum
opus "Sri Krishna Leela Tharangini". Each of these songs
are called Tharangams and are integral to the Kuchipudi
dance repertoire. While many songs are on lord Krishna, a
few are on other gods. The Durga Tharangam is on the
mother goddess.
a great guru Smt.Dr.TSRL and its our sincere prayers to the
Lord Almighty to bestow upon her great health and longev-
ity to continue her noble service to our great heritage and
culture. She looks young and energetic yet although she has
crossed several decades of active life in all fronts.
Sri Narayana Theertha
In this Durga Tharangam, the scene opens with the arrogant
Kamsa’s entry who wanted to kill the eighth child, which is
a girl child, of Devaki and Vasudeva. As he tries to do the
same, the just born baby girl went high up and showed her
Yogamaya Swaroopam. She, who is called as Durga, who
was in her rage, warned Kamsa about the one who has born
to kill him.
Devas, Devis, sages, yakshas kinnaras and all others started
praising Devi Durga for protecting them from this difficult
situation. Hearing their praises Devi Durga becomes calm
and enjoys along with them in the celebration. God Indra
offers an offering of dance ensemble for Goddess Durga,
with the collaboration of Gandharvas and apasaras. Devi be-
comes happy and blesses everyone. The praise continues to
elaborate Devi Durga's Sundara Charanaaravindham, or the
beautiful lotus feet of the goddess, symbolise divine grace
and protection. Adorned with anklets that jingle like melo-
dies, resonate the Samaveda and they carry the essence of
cosmic energy. The sacred symbols adorning her feet, such
as conch shells, moon and divine insignias, echo the eternal
power and auspiciousness she embodies. Each delicate toe
reflects the precision of cosmic order, while the anklets har-
monize with the rhythm of the universe. Devotees find sol-
ace in the sanctity of Devi Durga's feet, recognizing them as
a source of strength and the embodiment of transcendent
beauty.
Here, in one of the Charanams of the Tharangam the dancer
dances on the brass plate. This is one of the salient features
of Kūchipūdi Tharangam. In the captivating art of Ku-
chipudi, the dancer gracefully moves upon a resonating
brass plate, invoking a mesmerizing spectacle that echoes
the divine dance of Devi Durga. The rhythmic footwork on
the metallic surface produces a symphony, symbolizing the
cosmic energy that flows through the goddess. The delicate
tinkling of the devi Durga’s ankle bells, known as noopura
dhwani, becomes a sacred melody, the divine rhythms of
creation. As the dancer enlivens the plate with each step, the
convergence of artistry and spirituality unfolds, creating a
profound connection between the earthly performance and
the celestial essence embodied by Devi Durga.
Under the Theme: Contributions of Ṛṣis and Vyakhyakaras
for Human Welfare and Emancipation I would like to
present this Natya Veda created by Brahma and propagated Annual Day celebrations of Nada veda Adhyayana Kendra
by Sage Bharatha through Kūchipūdi Tharangam. Here is on 17-12-23.
Durga Tharangam a dance performance at the Day II of

A NOTE ON MOHINIYATTAM: AN PERFORMING ART FROM KERALA

Smt. Geeta Siva Raman, Scholar and Dancer, Kerala
Aim: This paper delves into the spiritual experiences of
dancers in the context of Mohiniyattam, a classical dance
form. The primary objective is to identify and evaluate the
aesthetic elements of Mohiniyattam in terms of its spiritual
essence.
Many Indian classical dances have deep roots in Hinduism
and serve as mediums for promoting spiritualism. These
cultural and ritual activities have historically been
associated with the moral and spiritual upliftment of
individuals, often conducted within temple courtyards.
Dance, in this context, is not merely a physical art form but
is regarded as a means of communication with the divine,
aligning the practitioner with the energy centers, or chakras,
within the body.
The presence of a divine element is a common feature in all
Indian dance forms, many of which originated as temple
dances performed by Devadasis to praise the gods.
Mohiniyattam, a feminine classical art form from Kerala,
draws inspiration from Hindu mythology and sculptures to
explore the ideology of spirituality. The term 'Mohini'
symbolizes God Vishnu, in his Mohini form and the
narrative often incorporates mythological stories and themes
from Hindu epics and puranas. Dancers portrayvarious
characters, including gods, goddesses, and celestial beings,
evoking profound emotional responses in the audience. The
dancer, in the role of Nayika,may depict deep love for
chosen deities such as Krishna or Vishnu, who are revered
as Nayakas. The Narthaki, acting as Atma, seeks union with
Paramatma,and in most Padams, 'Sakhi' assumes the role of
a Guru.
The Nritya techniques in Mohiniyattam are typically
founded on these spiritual elements, enriching the art form's
intrinsic beauty.

ANNOUNCEMENTS
1. With Saundaryalahari Stotra formulas Saundarya Lahari Havana would be organized on 24-12-23, Sunday at 11 a.m.
as scheduled. Puja and naivedya and arpana to Devi would be done. Welcome
2. On 16th &17-11-23 Sunday 7.00 p.m. IST onwards ,7. NVAK & WAVES, Bangalore Chapter Annual day Celebra-
tions.
3. 26-12-23 6.45 p.m. Margaseershamasa suddha Purnima,Lalita Sahasranama Stotra parayanam on zoom Meet..
4. Every Tuesdays and Wednesdays Classes at 7 p.m. IST Central time USA 8.30 a.m. on “Mahanyasa mantras of YV
“held by Dr. C.L. Prabhakar, Director, and Veda Guru. Please note the Zoom: PC 376 656 7221 Code 123321. Notified
in the nadaveda WhatsApp group. On Fridays 7 p.m. Swetasvatara Upanishad over same Zooms
5. Regular Zoom international classes on Veda and scriptures are organized Monday, Tuesday, Wednesday, Thursday,
Friday, Saturday and Sundays on Brihadaranyaka Upanishad, Durga Saptasati, Bhagavad-Gita, Veda Suktas / Vishnu
sahasranama, Narayaneeyam, and Sri Srinivasa/Lakshmi Gadyam and Bhagavata saptasati classes respectively by Dr.
C.L. Prabhakar, Guruji, at 8 p.m. (USA EST, (India 6.30 a.m. IST). It on Zoom link. Zoom 876 7828 0582, passcode
842839. Interested need contact for link the Director of Kendra.at 80- 26592489/26596150.
6. Viduraniti sessions on Saturdays at 6.30p.m. IST and 8.00 a.m. CST. meeting id: 821 4769 4896 pass code 542647.
on in the series.
7. Aruna prasna classes same day (Saturday) at .8.00 p.m. IST’. U.S Central time 9.30 a.m. CST. Meeting id 790 5356
7338 passcode: arunaprasn. The classes resumed from 7th July 22.
8. Bhagavata Saptasati Bhashyam on Sundays at5 p m. cst 6p.m. recurring Zoom id 876 7828 0582 passcode 842839
9. Syamala Dandakam sessions on Tuesdays& Thursdays, at 8p.m. EST, 7.p.m. CST,6.300 a.m. IST. Link in Nadaveda
Wapp group.686 847 2875 pass code; mantram
10. Class on Sri Lakshmi Gadyam 6 p.m. Est on Zoom on every Sunday. Same as in for bhagavata saptasati
11. On Saturdays Narayaniyam stotra text session. Time 9 p.m. EST 5.30 a.m. IST, Venue: Zoom same as in item 6.
12. 12-11--23 Sunday Stotra Bodha Meet: topic: Syamala Dandakam: Importance and Signuga by performing sacrifices
and in Kaliyugayicance:Key note Speaqker:Smt Sandhya Gali, Software Engineer, NVAK Engineer,Atlanta,USA,Con-
cluding Remarks: Dr. Shanta Saivalini, Vote of Thanks: Nagaraj Subrhamanyam. MV.Sudha Recites Stotra. Veena
Sangitanjali. Vedic Prayer ‘Siva Lingaiah, NVAK student.
 SUBHASHITAM
Krute dhyanat jnana siddhih
Tretaayam tapasa tatha!
Dvapare yajanat jnanam
Jnanam Pratima pujaya kalua!! ( Siva Puranam)

In Krutayugam people procured Spiritual Knowledge through Meditation, in Treta yuga through tapas: in Dvapara by per-
forming sacrifices, but jnanam is acquired by performing homadi yajanakriyas in Kali Yuga.

Activity of the NVAK & WAVES, Bangalore at Kendra premises

234 11th B Cross, J. P. Nagar II phase, Bangalore-78.
Program for the DECEMBER 2023
(This year (2022-23) theme: “Competing Practices of Dharma and Adharma: Success &the consequences of their
Votaries in Veda and Later.
Please mark your calendar the dates underneath and attend at Kendra premises.
Veda classes, Yoga classes are organized. For change of venue of classes or other activity please contact Kendra/Sri Suren-
dra Pujar: (ph. 080-26596150) and Sri Vasan, +91 7022244792 for virtual links. Join WhatsApp nadaveda group for more
updating knowledge on Veda and more on the activity on going also.

1. 5044 26-12-23 Sunday, 11 a.m. Samuhika Homa performance of Ganapati (with Atharvaseersha Upanishad mantras),
and Saundaryalahari stotra formulas Homa, (100 ahutis with slokas Recitation). (Venue: 234 11 B cross, 20 main, J.
P Nagar II Phase, Bangalore open to all). Now venue option is open. PLEASE CONTACT KENDRA FOR DETAILS.
2. 5045 26-12-23 MONDAY 6.30 p.m. Kartika suddha Purnima: samuhika Lalita Shasranama Parayanam.

3. 5046 14-12-23 Dhanurmasa begins: KENDRA PREMISES This is important month of months this year as there occurs
Vaikuntha Ekadasi on 22-12-23. More over Krishna said: He is present and likes specifically this month through out.
Masaanam Margaseersho’smi’

4. 5047 16 &17-12-23, Saturday &Sunday XXIX Annual Day celebrations with theme on the Rishis and the
Vaggeyakaras :their contributions to the Human welfare and Emancipation .Each day the program from 6 p.m.-9.30
p.m. IST. Program would be circulated. Watch the Nadaveda Wapp and FB.
5. 5048 18-12-23 Sri Subrahmanya Swamy Shashthi Utsavas. Te birth of Kumar for finishing Tarakasura.

4 5044 25-12-23 Monday, Gita Jayanti Celebrated. Bhagavad gita parayanam. Bhagavadgita paraayanam is beneficial in
many ways. In January we would have talks on Gita and Sri Krishna paraatma.
5 VedaGanga VoXXIX would be released and made available for all.

Printed & Published by Dr. C.L. Prabhakar, NadaVedadhyayana Kendra, # 437, 15th Main, 17th Cross, 5th Phase, J.P
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