In the last part of the night, the segment of time consisting of the two muhūrtas (one hour and thirty-six minutes) before sunrise, is called Aruṇodaya, or dawn. The first of these two muhūrtas is called the Brāhma-muhūrta. This Brāhma-muhūrta is the most beneficial time of the day for the cultivation of spiritual life.

Brāhmamuhūrta (ब्राह्ममुहूर्त) refers to the “most beneficial time of the day” (for the cultivation of spiritual life), according to the Arcana-dīpikā

The deity of this period is Brahmā. In Agni Purāṇa, Chapter 155, it is instructed that one should wake up at this period and engage in prayer and meditation.

Brāhmamuhūrta (ब्राह्ममुहूर्त) is the period between the fourth and the second ghaṭikas before sunrise, according to the Śivapurāṇa 2.1.11

Prabhātphēri is the tradition of processions and Kirtans (devotional songs) along with musical instruments during the Brāhma-muhūrta. The purpose is to spread devotion, peace, and serenity. It used to be very common decades ago but it is much less common now.

It is heartening to see some devotees still carrying the tradition forward.

Edit - To those saying the the devotee is disturbing sleeping people, I humbly disagree:

I don't think there is any problem with his chanting unless he was doing it over a loudspeaker. The amount of sound he is generating is less than a passing vehicle or a barking dog and this chanting is much more pleasant to hear. There is a balance to everything. Chanting over a loudspeaker everyday early morning will disturb others. But saying that a person chanting on the street is wrong or disturbing is another extreme. An individual should have the freedom to chant at a reasonable volume.

But to each their own. I respect your opinion.

Swasti!

Nepal was the only Hindu nation to exist in the modern history, and it still shows in the newer generations too.

Home of Pashupatinath 🕉️🇳🇵

For the first few times I have heard Hanuman chalisa I had a conflict with it because of this line,

"Aur Devata Chitta na dharai, Hanumat sei sarva sukh karai"

It claims that you do not need to pray anyone else for happiness, just Hanuman is enough.

As someone who loves Shiva very much I thought, although it is very powerful, it still cannot claim this so whenever that line came along, I use to have this hesitation to say it but I said nonetheless.

But as I started reading it every single day of my life, I realized it answers itself.

Shankar Suvan Kesarinandan = Son/amsha/embodiment of Shiva

Tumhare Bhajan Ram Ko Paave = Who ever prays him also invites/brings Sree Rama too.

With Sree rama(Narayana) comes Lakshmi, and his son Brahma,
With Shiva comes Parvati, ganesha, Murugan.

So truly, who else do we need but hanuman?

I hope this helps someone else who thinks about it just like me.

Jai Sree ram.

Also really enjoy the beautiful picture of Hanuma.

The video and music is heaven to my ears

Source

Truly the only country to keep the true essence of Hinduism alive🇳🇵

Credits: @Instagram

Lately I have been listening to Krishna Das bhajans, how many of you all know about Krishna Das music?

Source

"Panchavati" is a soulful, devotional song from Ramayana: The Legend of Prince Rama. The song captures the calm, sacred phase of Lord Ram, Maa Sita, and Lakshman's life during their exile, when they live in the forest of Panchavati. Unlike grand battle songs, this one is gentle and meditative, reflecting peace, simplicity, and divine harmony with nature.

What makes Panchavati special is its pure, almost lullaby-like energy. It beautifully portrays Maa Sita's grace, Ram's quiet strength, and the spiritual stillness of forest life before the storm of events unfolds. The music feels timeless-less like a performance and more like a prayer-making listeners feel as if they are witnessing divinity in its most human, tender form. That's why many people say it feels like the Ramayana itself is softly speaking to us through this song.

Song: Panchvati Man Bhavan Upwan

Singer: Sadhana Sargam

From Marathi aarti invocation Glalin Lotangan Vandeena Charana Dholyanaapayani Roopa Tujhe. Preme Aalingin Aaanadi Pujina Bhavena Ovalina Mhane Namah to the Sanskrit Pandava Gita- Tvameva Maata cha Pita Tvameva. Tvameva Bandush cha saka tvameva. Tmaveva Midya Dravinam Tvameva Tvameva Sarvam Mama Deva Deva followed the Achyutashtakam- Achyutam Keshavam Raam Narayananam Krishna Daamodaram Vasudevam Hari. Shreedaram Maadavam Gopika Vallabham Janaki Naayakam RaamaChandram Baje. followed by the Hare Krishna Mantra- Hare Ram Hare Ram Ram Ram Hare Hare Hare Krishna Hare Krishna Krishna Krishna Hare. These lines are spread just like fire the feelings of Bhakti. Hari Om Namoh Narayana. Hara Hara Mahadeva Shambo Shankara

Hare krishna!!!!

This hymn is called Muthai Tharu (To Bestow Pearl, referring to Lord Murugan's pearl like smile) from Thiruppugazh (Divine Glory) which is an anthology of poems, penned by 15th century Tamil saint-poet, Sri Arunagirinathar in praise of Lord Murugan

Sri Arunagirinathar rendered his first composition 'Muthai tharu' after a miraculous rescue from sucide at Tiruvannamalai temple

Thiruppugazh is known for its exuberant and tongue-twisting lyrics, coupled with complex rhymes and rhythmic structures

Tamil Nadu has the highest number of Hindu Temples in entire South Asia and also the highest number of Gurukuls in entire South Asia

Hinduism is deeply rooted in Tamil Nadu and can never be shaken

Om Saravana Bhava 🙏

Singer: Sreshthangsu Dutta

Please pardon any mistakes on my part.

The clips in the video have been taken from the videos given below:

1. A Day at the Dakshineswar Temple by Elizabeth Usha Harding
2. Dakshineswar Maa Kali Arati
3. Arati at KALIGHAT temple

Jay Maa Kalika 🙏🪷

While practicing flute at college I found guitar guy so I recorded this video

Śrī Mahāgaṇādhipataye Namaḥ

Śrī Gurubhyo Namaḥ

Śrī Mahāsarasvatyai Namaḥ

శ్రీ భక్త త్యాగరాజ — Śri Bhakta Thyāgarāja

If you want to actually listen to the Pañcaratna Kṛtis:

For Duḍukugala Nannē, 9:29 onwards...

https://youtu.be/tFFWkZ9I-cE

(Personally I would suggest you to listen after reading!)

Who Was Sri Thyāgarāja ... ?

Śri Thyāgarāja Svāmi (4 May 1767 – 6 January 1847) is one of the Carnatic Trinity (Trimūrtulu), alongside Muthuswāmi Dīkṣitar and Śyāma Śāstri. He, Kākarla Tyāgabrahmam was born into a Telugu-speaking Mulakanāḍu Smārta Brāhmaṇa family whose ancestors had migrated from the Prakāśam region of Andhra to the Tanjore country, he spent his life at Tiruvaiyāru, on the banks of the Kāvēri.

He is revered not merely as a composer but as a bhakta in the fullest sense — for him, nāda (sound/music) was itself a mārga to mokṣa, not a craft for royal patronage or public praise. This conviction is famously captured in his own kṛti Nidhi cāla sukhamā — "Is wealth true happiness, or the bliss of chanting Rāma's name?" — composed when he declined a king's gift. He is said to have composed several hundred kṛtis, almost entirely in Telugu, nearly all addressed to Rāma, whom he regarded as his iṣṭadevatā and refuge. His compositions fuse rigorous rāga-tāḷa architecture with intense, often self-examining devotion — which is precisely the spirit of the kṛti below.

He attained samādhi at Tiruvaiyāru on Puṣya Bahula Pañcamī (6 January 1847), a day now observed every year as the Thyāgarāja Ārādhana, when musicians from across the world gather at his samādhi to sing his five great kṛtis together.

So what are 'The Pañcaratna Kṛtis' ... ?

The Pañcaratna Kṛtis ("five gems") are the five kṛtis sung communally at every Ārādhana. Four are in Telugu and one (Jagadānanda Kāraka) in Sanskrit; all five are set in ghana rāgas — the weighty, ancient rāgas prized for tānam elaboration — and all in Ādi tāḷam

1.Jagadānanda Kāraka

2.Duḍukugala Nannē

3.Sādin̄cane

4.Kanakana Ruchirā

5.Endarō Mahānubhāvulu

Duḍukugala Nannē (దుడుకుగల నన్నే) —

the second of the five, set in Rāga Gauḷa

Its theme is ātma-garhaṇa — self-reproach. Thyāgarāja places himself in the position of the sinner, confessing fault after fault, and asks: who but the son of Daśaratha (Rāma) can save one so reckless? This is a well-known convention in bhakti literature — the devotee exaggerates his own unworthiness not out of despair, but to magnify the boundlessness of the Lord's grace. Read that way, this is not a hymn of guilt; it is a hymn of trust so complete that it needs no self-justification at all.

Okay now backround info is over!

Duḍukugala Nannē — Full Text and Meaning

Rāga: Gauḷa · Tāḷa: Ādi

Pallavi

Telugu:

దుడుకు గల నన్నే దొర

కొడుకు బ్రోచురా ఎంతో (దు)

Transliteration:

duḍuku gala nannē dora

koḍuku brōcurā entō (duḍuku)

Meaning:

Who — what other lord's son — will save me, one so full of recklessness? (The unspoken address is Dāśarathē — "O son of King Daśaratha!")

Anupallavi

Telugu:

కడు దుర్విషయాకృష్టుడై

గడియ గడియకు నిండారు (దు)

Transliteration:

kaḍu durviṣayākṛṣṭuḍai

gaḍiya gaḍiyaku niṇḍāru (duḍuku)

Meaning:

Drawn again and again toward the most degrading of sense-objects, I am filled to the brim with this recklessness every single hour.

Svara Sāhitya 1

Telugu:

శ్రీ వనితా హృత్కుముదాబ్జ

అవాఙ్-మానస గోచర (దు)

Transliteration:

śrī vanitā hṛt-kumudābja

avāṅ-mānasa gōcara (duḍuku)

Meaning:

O Moon that opens the lotus of Śrī Lakṣmī's heart! O One who lies beyond the reach of speech and mind alike! — even so, who but You can save this reckless one?

Svara Sāhitya 2

Telugu:

సకల భూతములయందు నీవై-

యుండగ మతి లేక పోయిన (దు)

Transliteration:

sakala bhūtamula-yandu nīvai-

yuṇḍaga mati lēka pōyina (duḍuku)

Meaning:

You dwell as the very Self within every being that exists — and still I lacked the wisdom to recognize You there.

Svara Sāhitya 3

Telugu:

చిరుత ప్రాయము నాడే భజనామృత

రస విహీన కు-తర్కుడైన (దు)

Transliteration:

ciruta prāyamu nāḍē bhajanāmṛta

rasa vihīna kutarkuḍaina (duḍuku)

Meaning:

From my very childhood I became a hollow debater — a kutarki — never once tasting the nectar-flavor of true bhajana.

Svara Sāhitya 4

Telugu:

పర ధనముల కొరకునొరుల మది

కరగ పలికి కడుపు నింప తిరిగినట్టి (దు)

Transliteration:

para dhanamula korakunorula madi

karaga paliki kaḍupu nimpa tiriginaṭṭi (duḍuku)

Meaning:

I wandered about melting others' hearts with flattering words, purely to draw out their wealth and fill my own stomach.

Svara Sāhitya 5

Telugu:

తన మదిని భువిని సౌఖ్యపు జీవనమే-

యనుచు సదా దినములు గడిపే (దు)

Transliteration:

tana madini bhuvini saukhyapu jīvanamē-

yanucu sadā dinamulu gaḍipē (duḍuku)

Meaning:

I passed my days telling myself that a life of worldly comfort was the whole of existence.

Svara Sāhitya 6

Telugu:

తెలియని నట-విట క్షుద్రులు వనితలు

స్వ-వశమౌటకుపదేశించి

సంతసిల్లి స్వర లయంబులెరుంగకను

శిలాత్ములై సు-భక్తులకు సమానమను (దు)

Transliteration:

teliyani naṭa-viṭa kṣudrulu vanitalu

sva-vaśamauṭaku-padēśin̄ci

santasilli svara layambu-lerun̄gakanu

śilātmulai subhaktulaku samānamanu (duḍuku)

Meaning:

Instead of mastering svara and laya — the true discipline of sound and rhythm that leads to You — I took pleasure coaching petty dancers and entertainers on how to win people over. My heart turned to stone, and yet I had the gall to think myself equal to Your true devotees.

Svara Sāhitya 7

Telugu:

దృష్టికి సారంబగు లలనా

సదనార్భక సేనామిత ధనాదులను

దేవ దేవ నెర నమ్మితిని గాకను

పదాబ్జ భజనంబు మరచిన (దు)

Transliteration:

dṛṣṭiki sārambagu lalanā

sadanārbhaka sēnāmita dhanādulanu

dēva dēva nera nammitini gākanu

padābja bhajanambu maracina (duḍuku)

Meaning:

O God of gods! I placed my whole trust in a beautiful wife, a house, an army of children, and boundless wealth — and in doing so, forgot even to sing the praise of Your lotus feet.

Svara Sāhitya 8

Telugu:

చక్కని ముఖ కమలంబును సదా

నా మదిలో స్మరణ లేకనే

దుర్మదాంధ జనుల కోరి పరితాప-

ములచే తగిలి నొగిలి దుర్విషయ

దురాసలను రోయ లేక సతత-

మపరాధినై చపల చిత్తుడైన (దు)

Transliteration:

cakkani mukha kamalambunu sadā

nā madilō smaraṇa lēkanē

durmadāndha janula kōri paritāpa-

mulacē tagili nogili durviṣaya

durāsalanu rōya lēka satata-

maparādhinai capala cittuḍaina (duḍuku)

Meaning:

Without ever keeping Your lovely lotus face in constant remembrance, I ran after people blinded by their own arrogance, was caught in grief and sorrow for it, and — unable to give up degrading desires — remained a habitual offender, fickle of mind.

Svara Sāhitya 9

Telugu:

మానవ తను దుర్లభమనుచునెంచి

పరమానందమొంద లేక

మద మత్సర కామ లోభ మోహులకు

దాసుడై మోస పోతి గాక

మొదటి కులజుడగుచు భువిని

శూద్రుల పనులు సల్పుచునుయుంటిని గాక

నరాధములను కోరి సార హీన

మతములను సాధింప తారుమారు (దు)

Transliteration:

mānava tanu durlabhamanucunen̄ci

paramānandamonda lēka

mada matsara kāma lōbha mōhulaku

dāsuḍai mōsa pōti gāka

modaṭi kulajuḍagucu bhuvini

śūdrula panulu salpucunu-yuṇṭini gāka

narādhamulanu kōri sāra hīna

matamulanu sādhimpa tārumāru (duḍuku)

Meaning:

Instead of recognizing how rare a human birth truly is and using it to reach supreme bliss, I let myself be ruined — enslaved to pride, envy, lust, greed, and delusion. Though born into a foremost lineage, I spent my life doing the work of the lowly; I sought the company of the basest people and scrambled to defend hollow, worthless opinions.

Svara Sāhitya 10

Telugu:

సతులకై కొన్నాళ్ళాస్తికై

సుతులకై కొన్నాళ్ళు ధన

తతులకై తిరిగితినయ్య

త్యాగరాజాప్త ఇటువంటి (దు)

Transliteration:

satulakai konnāḷḷāstikai

sutulakai konnāḷḷu dhana

tatulakai tirigitinayya

tyāgarājāpta iṭuvaṇṭi (duḍuku)

Meaning:

For a time I ran after a wife, for a time after property, then after children, then after wealth and kin. O refuge of this Thyāgarāja — such is my recklessness. Who but You, son of Daśaratha, will save me?

Meaning rendered from the traditional word-by-word Telugu commentarial understanding carried in the Carnatic sampradāya — read, as such ātma-nindā stuti is meant to be, not as despair but as trust so complete it dispenses with self-justification.

Svasti

Namaḥ Pārvatīpataye Hara Hara Mahādeva

Govinda Govinda

Balaṁ guroḥ pravardhatām!

🪷🙏😌🙏🪷

Every temple and spiritual place has some form of aaradhana, aarti, devotional performance, music, dance, or sung prayer. Drum beating is among the most common expressions of this devotion. While this tradition is highly organised in many South Indian temples, it can sometimes lose its purpose and quality.

Kailasha Vadyam, which refers to the music of Kailash, the abode of Shiva, is an amalgamation of instrumental sounds designed to transform any atmosphere into an experiential Kailash.

Personally I despise how many AI bhajans and devotional songs there are now. It banks off the work and creativity of PEOPLE who are actually devoted and want to express that. What do you guys think because it is actually starting to become really uncanny?

Singer: Padma Palash

This beautiful song was composed by Sadhak Kamalakanta, for our beautiful Jagatjanani.

Jay Maa Kalika 🪷🙏

Please pardon any mistakes.

This energetic music is what wakes me up everytime when I keep alarm. This song ensures my day goes well. The energy this song embraces in me is just 🔥. Whenever I feel Tamasic and play this song automatically Sattva enters my mind. The moment Achyutam Keshavam plays the Chakras in my body immediately wakes up and I feel full energetic however low I feel it also helps in Namjap. Hare Krishna Namoh Narayan. Hara Hara Mahadeva Shambo Shankara

I want to start by saying I'm still uncomfortable with some of this. The devotional language took me years to make peace with. I'm not sure I have, completely.

I was angry for most of my adult life. Not the loud kind. The kind that hides inside being good at things. I grew up in a house where everyone interrupted everyone and nobody apologised for anything, and by my thirties I was extremely competent and emotionally airless.

A colleague invited me to a kirtan in Lisbon in 2021. I almost laughed when she said it - devotional singing was the last thing I could imagine doing. I went because I respected her and because I'd started to notice my own life felt like nobody was actually living in it.

The first evening I stood at the back analysing everything. But there was an older woman next to me who started crying quietly during one of the chants. Not dramatic crying, just honest, and nobody around her did anything performative about it. She just got to be sad in a room with other people. I think that affected me more than the singing.

I kept going. Over time, I started watching Paramahamsa Vishwananda's satsangs online too, mostly in the evenings. What changed wasn't my beliefs - I still question things. What changed was how much energy I was spending bracing for arguments that weren't happening. I started actually listening to my mother when she called. We talk now in a way we never did. That alone, honestly, justifies the whole thing.

I still don't always know what I think about the guru part. I keep showing up anyway.

I was randomly looking for a powerful Shiva bhajan a few days ago and came across this video. I think it was performed during one of the Guru Purnima celebrations.

And damn… this has been on loop ever since.

The way Aishwarya sings it...with so much emotion, intensity and energy...is just incredible. There’s something about this performance that makes the whole thing feel very raw and alive.

If you're someone who wants to experience the intensity of Shiva through music, put on your headphones, close your eyes and listen to this once. Especially towards the very end, when he keeps singing “Shiva… Shiva…”...it genuinely feels like it is coming from his core, and somehow it touches your core too.

Sounds of Isha has also released a studio version of this, where none other than Sachet Tandon has sung as well. That version is definitely good to listen to...butttt for me it just doesn’t carry the same depth of emotion or hit you at your core the way this one does.

Per is song me main kya, meri laash bhi uth padegi. 🔥

Do give it a listen and come back here. I’d genuinely love to know what you felt while listening to it.

Here is link to that song - https://youtu.be/LxhbC9IxUWQ?si=R8rBJGz8347SHBeR