Sri Rama Devotional Mp3 Songs Telugu Free Download

He became popular for his Telugu Version of Hanuman Chalisa. He also narrated Bala kanda,Ayodhya kanda and Sundara Kanda (some parts of the epic Ramayana) in form of Songs in Telugu. He gained fame for singing the devotional songs and was awarded the name of 'Sundara Dasu' in 1977.

Today, Shirdi has a number of other reminders of Baba'spresence. These include the stone on which Baba used to sit, the fireplacewhere he used to cook, a small temple that he sometimes visited, the mosquewhere he lived, his sacred fire, a show-case with his robe, pipe and staff,and so on. In addition to the Rama Navami-urs celebrations every evening, theShri Sai Satcharita is read and devotional songs accompanied by stories areperformed. Two important festival days, Gurupurnima (the annual full moonnight dedicated to the worship of the guru) and Vijayadasami (the night onwhich Baba passed away), are celebrated. On Thursdays and other festival daysa palanquin is taken out of the temple, and Baba's photo and otherbelongings are also taken out in a procession. Shirdi is on the pilgrimageroute for many Hindus and Muslims who regard Baba as a saint who still speaksfrom the tomb.(19) As social memory, the figure of Shirdi Sai Baba assaint-guru appears to contain archetypes from two earlier traditions. Thefirst, and arguably less dominant one today, is that of a pir or saint in aSufi or Nathpanthi tradition, overlapping with the persona of Kabir.(20) Thesecond is the figure of Vitthala at Pandharpur and the Maharashtrian sainttradition that popularised this devotion in the region. Thus, the cult todayhas become a complex palimpsest of material, oral, textual, performative,kinetic and visual traces some of which is owed to Shirdi Sai Baba'sagency.

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What is the relationship between the written and the oral withinthis production of works? There is a vast and growing corpus of literature onBaba.(22) Apart from the official biography, Sathyam Sivam Sundaram, andpublications of the Sathya Sai Central Trust that includes the SanathanaSarathi, there are Baba's own discourses and works that are, of course,central to the movement. The first category within them is a set of bookscalled Prema Vahini, Dharma Vahini, Jnana Vahini, Sutra Vahini, PrasanthiVahini, Upanishad Vahini, Dhyana Vahini, and so on, which are discoursescalled `streams' (vahini) on specific themes such as meditation,education, peace, or knowledge, aimed at the clarification of spiritualtruths. Many of them are commentaries on the sruti class of Sanskritliterature, but they also include references to other devotional andsectarian traditions and modern figures such as Gandhi or RamakrishnaParamahamsa. These were lectures or articles by Baba first published in theSanathana Sarathi and then regrouped thematically. The second categoryincludes works that are his exegeses on different scriptures. There is first,the Geetha Vahini, which Sathya Sai Baba classifies as sruti. Second, thereare two works conceived by him as his versions of texts dealing with divineincarnation, the Bhagavata Vahini, and the Ramakatha Rasavahini.Traditionally, the latter two would be regarded as smriti texts. All of thesethree appear to have been conceived as single and coherent bodies of works.

To return to the category of smarana-as-memory in this context, wehave to place the idea of Baba as avatar and the recollection of Shirdi Babawithin the larger reworking of social memory in the movement and through it.This has occurred through a series of redefinitions of categories of place,time and faith. Thus, sacred spaces were created out of and within Shirdi andPuttaparthi, Bombay, Bangalore and Ootacamund -- dry land agricultural areas,the center of a colonial Presidency, a `science city' and an ex-colonialhill-station -- and contrasted with older pilgrimage centers. The ritualcalendar at Shirdi and Puttaparthi, through its many accomodations, is todayreminiscent of the avowedly `secular' Indian state. The nature of pietyand faith was also redefined; for instance, Shirdi Sai Baba explicitlymediated between sectarian Hindu traditions as well as Islamic Sufi ones andSathya Sai Baba situates his project within what we may term theosophicaluniversalism. This transformation of memory, which is a social act, isembedded in the new institutions and practices that both Shirdi Sai Baba andSathya Sai Baba introduced, participated in or produced. These includekinetic practices such as processions during festivals, written ones such asthe Shri Sai Satcharita and Sanathana Sarathi, oral ones such as the chantingof sacred formula and speeches, musical practices such as singing ofdevotional songs, and even architectural ones such as the mosque and SarvaDharma Stupa. e24fc04721