Shivpreet Singh
Shivpreet Singh
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Don't be a vulture.  Enjoy the gifts that you have.  See the sparkling stars!
-Shiv


Vulture

She flies here there everywhere
Over flowing streams of water
Over gorgeous mountains
Over blossoming forests
Its where she finds death
shiv, the vulture comes and sits!

- Guru Arjan



Guru Arjan's couplet:
firdi firdi deh disha jal parbat banraye
jithe ditha mirtako il bahithi aaye


I am composing music for a Bhagat Namdev poem.  Bhagat Namdev was a spiritual poet from Maharashtra from the 13th century.  Read a biography about him here: http://shivsangels.blogspot.com/2013/05/namdev-biography-by-swami-sivananda.html

Composing this in Raag Tilang 

ਨਾਮਦੇਵ ਜੀ ॥
नामदेव जी ॥
Nāmḏev jī.
Naam Dayv Jee:

ਮੈ ਅੰਧੁਲੇ ਕੀ ਟੇਕ ਤੇਰਾ ਨਾਮੁ ਖੁੰਦਕਾਰਾ ॥
मै अंधुले की टेक तेरा नामु खुंदकारा ॥
Mai anḏẖule kī tek ṯerā nām kẖunḏkārā.
I am blind; Your Name, O Creator Lord, is my only anchor and support.

ਮੈ ਗਰੀਬ ਮੈ ਮਸਕੀਨ ਤੇਰਾ ਨਾਮੁ ਹੈ ਅਧਾਰਾ ॥੧॥ ਰਹਾਉ ॥
मै गरीब मै मसकीन तेरा नामु है अधारा ॥१॥ रहाउ ॥
Mai garīb mai maskīn ṯerā nām hai aḏẖārā. ||1|| rahā▫o.
I am poor, and I am meek. Your Name is my only support. ||1||Pause||

ਕਰੀਮਾਂ ਰਹੀਮਾਂ ਅਲਾਹ ਤੂ ਗਨੀ ॥
करीमां रहीमां अलाह तू गनीं ॥
Karīmāʼn rahīmāʼn alāh ṯū ganīʼn.
O beautiful Lord, benevolent and merciful Lord, You are so wealthy and generous.

ਹਾਜਰਾ ਹਜੂਰਿ ਦਰਿ ਪੇਸਿ ਤੂੰ ਮਨੀ ॥੧॥
हाजरा हजूरि दरि पेसि तूं मनीं ॥१॥
Hājrā hajūr ḏar pes ṯūʼn manīʼn. ||1||
You are ever-present in every presence, within and before me. ||1||

ਦਰੀਆਉ ਤੂ ਦਿਹੰਦ ਤੂ ਬਿਸੀਆਰ ਤੂ ਧਨੀ ॥
दरीआउ तू दिहंद तू बिसीआर तू धनी ॥
Ḏarī▫ā▫o ṯū ḏihanḏ ṯū bisī▫ār ṯū ḏẖanī.
You are the river of life, You are the Giver of all; You are so very wealthy.

ਦੇਹਿ ਲੇਹਿ ਏਕੁ ਤੂੰ ਦਿਗਰ ਕੋ ਨਹੀ ॥੨॥
देहि लेहि एकु तूं दिगर को नही ॥२॥
Ḏėh lehi ek ṯūʼn ḏigar ko nahī. ||2||
You alone give, and You alone take away; there is no other at all. ||2||

ਤੂੰ ਦਾਨਾਂ ਤੂੰ ਬੀਨਾਂ ਮੈ ਬੀਚਾਰੁ ਕਿਆ ਕਰੀ ॥
तूं दानां तूं बीनां मै बीचारु किआ करी ॥
Ŧūʼn ḏānāʼn ṯūʼn bīnāʼn mai bīcẖār ki▫ā karī.
You are wise, You are the supreme seer; how could I make You an object of thought?

ਨਾਮੇ ਚੇ ਸੁਆਮੀ ਬਖਸੰਦ ਤੂੰ ਹਰੀ ॥੩॥੧॥੨॥
नामे चे सुआमी बखसंद तूं हरी ॥३॥१॥२॥
Nāme cẖe su▫āmī bakẖsanḏ ṯūʼn harī. ||3||1||2||
O Lord and Master of Naam Dayv, You are the merciful Lord of forgiveness. ||3||1||2||









This is an excerpt from Odysseus, the great poem by Homer. It shows how the protagonist who has

“Son of Laertes, versatile Odysseus,
after these years with me, you still desire
your old home? Even so, I wish you well.
If you could see it all, before you go—
105 all the adversity you face at sea—
you would stay here, and guard this house, and be
immortal—though you wanted her forever,
that bride for whom you pine each day.
Can I be less desirable than she is?
110 Less interesting? Less beautiful? Can mortals
compare with goddesses in grace and form?”

To this the strategist Odysseus answered:“

My lady goddess, there is no cause for anger.
My quiet Penelope—how well I know—
115 would seem a shade before your majesty,
death and old age being unknown to you,
while she must die. Yet, it is true, each day
I long for home, long for the sight of home. . . .”
What a beautiful way of passing spirituality.  Through a a lullaby every child gets to learn it.  And then it passes from generation to generation to generation.  

Okus Bokus is actually a Kashmiri Lullaby . The word Okus Bokus over the centuries got corrupted from Hukus Bukus which means who is he and who is me OR Tchekus BeKus again maining who are you and who are me .

The translation is done here .

Tse Kus Be Kus Teli Wan su Kus
Who are you and who am I then tell us who is he the creator that permeates through both you and I

Moh Batuk Logum Deg
Each day I feed my senses/body with the food of worldly attachment and material love (Moh = attachment)

Shwas Khich Khich Wang-mayam
For when the breath that I take in reaches the point of complete purification (Shwas = Breath)

Bhruman daras Poyun chokum
It feels like my mind is bathing in the water of divine love (Bhruman = nerve center in the human brain, poyun = water)

Tekis Takya bane Tyuk
Then I know I am like that sandal wood which is pasted for divine fragrance symbolic of universal divinity. I realize that I am, indeed, divine (Tyuk = Tika applied on the forehead)

The message of this poem is rooted in Kashmiri spiritual tradition. The poem itself is ageless. Some say it came up during Lal Ded’s time, other’s say it dates back to the origin of Kashmir and Kashmiri culture itself. The poem, in later years, was made a song for children. For years it served as a poetic medium to pass down the essence of Kashmiri culture to little ones.

It is said that the tones produced by the arrangement of words in this poem as well as its rhythm has a calming effect for infants and toddlers of all times

Here is the ICIC jingle of Okus Bokus
And here is famous Kashmiri Singer , Kailash Mehra , singing Okus Bokus for Kashmiri Pandit diaspora in USA
Mr Anil Mattoo explaining the same , somewhere in USA
Apostrophe

"There's a question mark hanging
on apostrophe's future." is the title
of the most popular article
in today's Wall Street Journal.

The apostrophe is in grave
danger contends the Apostrophe
Protection Society because geographical
names in the US cannot carry an apostrophe.

This happens to fall on Adrienne Rich's birthday.
What kind of calamitous times are these really?
Those trees in her poem are now stumps,
shiv, because metaphors are needless.

And in the meeting-place nearby
the revolutionaries of these times
meet: the comma, semi-colon,
period and their cousin marks.

Infuriated by the blatant racism.
they are now each demanding
an institution of support of their own
lest they suffer the same catastrophe.
The necessity of trees

The frontyard that made me
had medicinal three trees,
one even with my name.

We would pick Eucalyptus leaves
squeeze their refreshing scents out
between cricket games.

Somedays we would renunciate
colgate for the chewable stems
of the neem tree

The long black fruit from
the amaltas tree was great
for the stomach

These trees outside my window
sway the way of the wind,
shiv, make me think.
On Adrienne Rich's birthday today I am reading her poem, "What kind of times are these."  I like how she connects nature to poetry.  Poetry lulls people in -- whether they agree with you or not, they have to listen to you.  It prevents the listener from shutting down and not listening and then thinking.

I have actually used this at work a lot to inspire people when they are making sub-optimal progress.  Because I know that they can sing, but am not willing to point out they are not singing their best.  To blatantly tell someone they are wrong, to criticize without the hidden reprimand of the poem is dangerous.  Therein lies the importance of trees and metaphors.  Therein lies the importance of poetry.





What kind of times are these
- Adrienne Rich

There's a place between two stands of trees where the grass grows uphill
and the old revolutionary road breaks off into shadows
near a meeting-house abandoned by the persecuted
who disappeared into those shadows.

I've walked there picking mushrooms at the edge of dread, but don't be fooled
this isn't a Russian poem, this is not somewhere else but here,
our country moving closer to its own truth and dread,
its own ways of making people disappear.

I won't tell you where the place is, the dark mesh of the woods
meeting the unmarked strip of light—
ghost-ridden crossroads, leafmold paradise:
I know already who wants to buy it, sell it, make it disappear.

And I won't tell you where it is, so why do I tell you
anything? Because you still listen, because in times like these
to have you listen at all, it's necessary
to talk about trees.



An interesting take on this poem: http://andrewjshields.blogspot.com/2012/06/what-kind-of-times-are-these.html

Adrienne Rich borrowed the title of this poem from the following poem by German poet Brecht (some interpretations say that Brecht prefers socio-political poetry over nature poetry, and that Rich sees nature poetry as a means to making socio-political changes.

To the Descendants

I

Truly, I live in dark times!
The frank is the foolish. A smooth brow
Indicates insensitivity. The laughing man
Has simply not yet heard
The terrible news.

What kind of times are these when
A conversation about trees is almost a crime
Because it includes a silence about so many misdeeds!
That man quietly crossing the street
Is probably no longer approachable by his friends
Who are in need?

It is true: I still earn my keep
But believe me: that’s only by accident. Nothing
I do entitles me to eat my fill.
I’ve been accidentally spared. (If my luck stops
I’ve had it.)

I’m told: eat and drink! Be happy you’ve got it!
But how can I eat and drink when
What I eat I rip off the hungry and
The thirsty lack my glass of water?
And yet I eat and drink.

I’d also like to be wise.
In the old books is written what is wise:
Stay out of the world’s argy-bargy and spend
Your short span without fear,
Also make do without violence,
Repay evil with good,
Don’t fulfil your wishes but forget them,
All that is seen as wise.
All that I cannot.
Really, I live in dark times!

II

Into the cities I came in the time of disorder
When hunger reigned.
Among men I came in the time of uprising
And I rebelled with them.
Thus passed the time
Given me on earth.

My meals I ate between the battles,
I lay down to sleep among the murderers,
practised love carelessly
And looked at nature impatiently.
Thus passed the time
Given me on earth.

The streets led to the swamp of my time.
Language betrayed me to the butcher.
I could do but little. But the rulers
Sat more securely without me, that I hoped.
Thus passed the time
Given me on earth.

The forces were few. The goal
Lay far distant.
It was clearly discernible, even if for me
Hardly attainable.
Thus passed the time
Given me on earth.

III

You who shall emerge from the flood
We went down in
Consider
When you speak of our weaknesses
Also the dark time
You have escaped.

For indeed we went, changing countries more often than our shoes,
Through the wars of classes, despairing
When there was but injustice and no rebellion.

Yet we know:
The hate of baseness
Too distorts the face.
Rage against injustice
Too hoarsens the voice. Oh, we
Who wanted to prepare the ground for friendliness
Could not ourselves be friendly.

You however, when it has come to pass
That man is a helper to man,
Remember us
With forbearing.

Here is the another translation of this:

Was sind das für Zeiten, wo
Ein Gespräch über Bäume fast ein Verbrechen ist
Weil es ein Schweigen über so viele Untaten einschließt!

(Bertolt Brecht, "An die Nachgeborenen"; Brecht reads it here)


What kind of times are these, when
A conversation about trees is almost a crime
Because it implies silence about so many atrocities!

(Bertolt Brecht, "To Those Born Later," my translation)



Another Translation:

Bertolt Brecht (1898–1956)

To those born later

I
Truly I live in dark times!
Frank speech is naïve. A smooth forehead
Suggests insensitivity. The man who laughs
Has simply not yet heard
The terrible news.

What kind of times are these, when
To talk about trees is almost a crime
Because it implies silence about so many horrors?
When the man over there calmly crossing the street
Is already perhaps beyond the reach of his friends
Who are in need?

It’s true that I still earn my daily bread
But, believe me, that’s only an accident. Nothing
I do gives me the right to eat my fill.
By chance I've been spared. (If my luck breaks, I'm lost.)

They say to me: Eat and drink! Be glad you have it!
But how can I eat and drink if I snatch what I eat
From the starving
And my glass of water belongs to someone dying of thirst?
And yet I eat and drink.

I would also like to be wise.
In the old books it says what wisdom is:
To shun the strife of the world and to live out
Your brief time without fear
Also to get along without violence
To return good for evil
Not to fulfill your desires but to forget them
Is accounted wise.
All this I cannot do.
Truly, I live in dark times.

II
I came to the cities in a time of disorder
When hunger reigned.
I came among men in a time of revolt
And I rebelled with them.
So passed my time
Given me to on earth.

I ate my food between battles
I lay down to sleep among murderersI practiced love carelessly
And I had little patience for nature’s beauty. 40
So passed my time
Given to me on earth.
All roads led into the mire in my time.
My tongue betrayed me to the butchers.
There was little I could do. But those is power
Sat safer without me: that was my hope.
So passed my time
Given to me on earth.
Our forces were slight. Our goal
Lay far in the distance 50
Clearly visible, though I myself
Was unlikely to reach it.
So passed my time
Given to me on earth.
III
You who will emerge from the flood
In which we have gone under
Bring to mind
When you speak of our failings
Bring to mind also the dark times
That you have escaped. 60
Changing countries more often than our shoes,
We went through the class wars, despairing
When there was only injustice, no outrage.
And yet we realized:
Hatred, even of meanness
Contorts the features.
Anger, even against injustice
Makes the voice hoarse. O,
We who wanted to prepare the ground for friendship
Could not ourselves be friendly. 70
But you, when the time comes at last
When man is helper to man
Think of us
With forbearance.
[1940]
For links see the end
Meera, also known as Mirabai[2] (मीराबाई; c.1498–c.1546), was a 16th-century Hindu mystic poet and devotee of Krishna. She was originally named 'Mihira' but in her poetry she introduced her name in the changed form Meera owing to the Rajasthani accent and therefore became more popular as Meera. She is a celebrated Bhakti saint, particularly in the North Indian Hindu tradition.[3][4]

Mirabai was born into a Rajput royal family in Kudki, Pali district, Rajasthan, Mira then spent her childhood in Merta, Rajasthan. She is mentioned in Bhaktamal, confirming that she was widely known and a cherished figure in the Bhakti movement culture by about 1600 CE.[5] Most legends about Meera mention her fearless disregard for social and family conventions, her devotion to Lord Krishna, her treating Lord Krishna as her husband and being persecuted by her in-laws for her religious devotion.[1][5] She has been the subject of numerous folk tales and hagiographic legends, which are inconsistent or widely different in details.[1][6] Thousands of devotional hymns in passionate praise of Lord Krishna are attributed to Meerabai in the Indian tradition, but just a few hundred are believed to be authentic by scholars, and the earliest written records suggest that except for two hymns, most were written down only in the 18th century.[7] Many poems attributed to Meera were likely composed later by others who admired Meera. These hymns are commonly known as bhajans, and are popular across India.[8] Hindu temples, such as in Chittorgarh fort, are dedicated to Mira Bai's memory.[1] Legends about Meera's life, of contested authenticity, have been the subject of movies, comic strips and other popular literature in modern times.[9]

Biography

Meera's temple to Krishna at Chittor Fort, Rajasthan
Authentic records about Meera are not available, and scholars have attempted to establish Meera's biography from secondary literature that mention her, and wherein dates and other moments. Meera unwillingly married Bhoj Raj, the crown prince of Mewar, in 1516.[10][11] Her husband was wounded in one of the ongoing wars with the Delhi Sultanate in 1518, and he died of battle wounds in 1521. Both her father and father-in-law (Rana Sanga) died a few days after their defeat in the Battle of Khanwa against first Mughal Emperor Babur.

After the death of her father-in-law Rana Sanga, Vikram Singh became the ruler of Mewar. According to a popular legend, her in-laws tried many times to assassinate her, such as sending Meera a glass of poison and telling her it was nectar or sending her a basket with a snake instead of flowers.[2][10] According to the hagiographic legends, she was not harmed in either case, with the snake miraculously becoming a Krishna idol (or a garland of flowers depending on the version).[6][10] In another version of these legends, she is asked by Vikram Singh to go drown herself, which she tries but she finds herself floating on water.[12] Yet another legend states that the third Mughal emperor Akbar the Great came with Tansen to visit Meera and presented a pearl necklace, but scholars doubt this ever happened because Tansen joined Akbar's court in 1562, 15 years after she died.[12] Similarly, some stories state that Guru Ravidas was her guru (teacher), but there is no corroborating historical evidence for this. Some versions suggest this could likely have happened. Others disagree.[12]

The three different oldest records known as of 2014 that mention Meera,[13] all from the 17th century and written within 150 years of Meera's death, neither mention anything about her childhood or circumstances of her marriage to Bhojraj, nor do they mention that the people who persecuted her were her in-laws or from some Rajput royal family.[14] Nancy Martin-Kershaw states that to the extent Meera was challenged and persecuted, religious or social conventions were unlikely to have been the cause, rather the likely cause were political chaos and military conflicts between the Rajput kingdom and the Mughal Empire.

Other stories state that Mira Bai left the kingdom of Mewar and went on pilgrimages. In her last years, Meera lived in Dwarka or Vrindavan, where legends state she miraculously disappeared by merging into an idol of Krishna in 1547.[1][2] While miracles are contested by scholars for the lack of historical evidence, it is widely acknowledged that Meera dedicated her life to Lord Krishna, composing songs of devotion and was one of the most important poet-saint of the Bhakti movement period.[2][12][15]

Poetry

Most of Meera's poems are dedicated to God in the form of Krishna (left), calling him the Dark One or the Mountain Lifter. Some Meera songs include Radha (right), the lover of Krishna. All her poems have philosophical connotations.[16]
A number of compositions by Meera Bai continue to be sung today in India, mostly as devotional songs (bhajans) though nearly all of them have a philosophical connotation.[17] One of her most popular compositions remains "Paayoji maine Ram Ratan dhan paayo" (पायो जी मैंने राम रतन धन पायो।, "I have been given the richness of Lord Ram's blessing").[18][19] Meera's poems are lyrical padas (metric verses) in Rajasthani language.[12] While thousands of verses are attributed to her, scholars are divided in their opinion as to how many of them were actually penned by Meera herself.[20] There are no surviving manuscripts of her poetry from her time, and the earliest records with two poems credited to her are from early 18th-century, more than 150 years after she died.[7]

Hindi and Rajasthani
The largest collection of poems credited to her are in 19th-century manuscripts. Scholars have attempted to establish authenticity based on both the poem and Meera being mentioned in other manuscripts as well as from style, linguistics and form.[7][21] John Stratton Hawley cautions, "When one speaks of the poetry of Mirabai, then, there is always an element of enigma. (...) there must always remain a question about whether there is any real relation between the poems we cite and a historical Mira."[22]

In her poems, Krishna is a yogi and lover, and she herself is a yogini ready to take her place by his side into a spiritual marital bliss.[7] Meera's style combines impassioned mood, defiance, longing, anticipation, joy and ecstasy of union, always centred on Krishna.[21]

My Dark One has gone to an alien land.
He has left me behind, he's never returned, he's never sent me a single word.
So I've stripped off my ornaments, jewels and adornments, cut my hair from my head.
And put on holy garments, all on his account, seeking him in all four directions.
Mira: unless she meets the Dark One, her Lord, she doesn't even want to live.

— Mira Bai, Translated by John Stratton Hawley[23]
Meera speaks of a personal relationship with Krishna as her lover, lord and mountain lifter. (Sanson Ki Mala Pe Simru Main Pi Ka Naam) is written by Meera Bai Shows her dedication towards Lord Krishna.The characteristic of her poetry is complete surrender.

After making me fall for you so hard, where are you going?
Until the day I see you, no repose: my life, like a fish washed on shore, flails in agony.
For your sake I'll make myself a yogini, I'll hurl myself to death on the saw of Kashi.
Mira's Lord is the clever Mountain Lifter, and I am his, a slave to his lotus feet.

— Mira Bai, Translated by John Stratton Hawley[24]
Meera is often classed with the northern Sant bhaktis who spoke of Lord Sri Krishna.

Sikh literature
Prem Ambodh Pothi, a text attributed to Guru Gobind Singh and completed in 1693 CE, includes poetry of Mira Bai as one of sixteen historic bhakti saints important to Sikhism.[25]

Influence
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Scholars acknowledge that Meera was one of the central poet-saints of the Bhakti movement which was during a difficult period in Indian history filled with religious conflicts. Yet, they simultaneously question the extent to which Meera was a canonical projection of social imagination that followed, where she became a symbol of people's suffering and a desire for an alternative.[26] Dirk Wiemann, quoting Parita Mukta, states,

If one accepts that someone very akin to the Mira legend [about persecution and her devotion] existed as an actual social being, the power of her convictions broke the brutal feudal relationships that existed at that time. The Mira Bai of the popular imagination, then, is an intensely anachronistic figure by virtue of that anticipatory radical democracy which propels Meera out of the historicity that remains nonetheless ascribed to her. She goes beyond the shadowy realms of the past to inhabit the very core of a future which is embodied within the suffering of a people who seek an alternative.

— Dirk Wiemann / Parita Mukta, On Meera[26][27]
The continued influence of Meera, in part, has been her message of freedom, her resolve and right to pursue her devotion to deity Krishna and her spiritual beliefs as she felt drawn to despite her persecution.[26][27] Her appeal and influence in Indian culture, writes Edwin Bryant, is from her emerging, through her legends and poems, as a person "who stands up for what is right and suffers bitterly for holding fast to her convictions, as other men and women have", yet she does so with a language of love, with words painting the "full range of emotions that mark love, whether between human beings or between human and divine".[28]


A modern painting of Mirabai
English versions
Aliston and Subramanian have published selections with English translation in India.[29][30] Schelling[31] and Landes-Levi[32] have offered anthologies in the USA. Snell[33] has presented parallel translations in his collection The Hindi Classical Tradition. Sethi has selected poems which Mira composed presumably after she came in contact with Saint Ravidas.[34] and Meera Pakeerah.

Some bhajans of Meera have been rendered into English by Robert Bly and Jane Hirshfield as Mirabai: Ecstatic Poems.[35]

Popular culture

Mirabai Museum Merta
Composer John Harbison adapted Bly's translations for his Mirabai Songs. There is a documentary film A Few Things I Know About Her by Indian film director Anjali Panjabi.[36]

Two well-known films of her life have been made in India, Meera (1945), a Tamil language film starring M. S. Subbulakshmi, and Meera a 1979 Hindi film by Gulzar. Other Indian films about her include: Meerabai (1921) by Kanjibhai Rathod, Sant Mirabai (1929) by Dhundiraj Govind Phalke, Rajrani Meera/Meerabai (1933) by Debaki Bose, Meerabai (1936) by T. C. Vadivelu Naicker and A. Narayanan, Sadhvi Meerabai (1937) by Baburao Painter, Bhakta Meera (1938) by Y. V. Rao, Meerabai (1940) by Narasimha Rao Bhimavarapu, Meera (1947) by Ellis Dungan, Matwali Meera (1947) by Baburao Patel, Meerabai (1947) by W. Z. Ahmed, Meerabai (1947) by Nanabhai Bhatt, Girdhar Gopal Ki Mira (1949) by Prafulla Roy, Raj Rani Meera (1956) by G. P. Pawar, Meera Shyam (1976), Meera Ke Girdhar (1992) by Vijay Deep.[37]

Meera, a 2009 Indian television series based on her life aired on NDTV Imagine.

Meera Bai's life has been interpreted as a musical story in Meera—The Lover…, a music album based on original compositions for some well known Meera bhajans, released 11 October 2009.[38]

The Meera Mahal in Merta is a museum dedicated to telling the story of Mirabai through sculptures, paintings, displays and a shaded garden.[39]Meerabai poetry

https://www.hindi-kavita.com/SantMeeraBai.php


First of manu bhajans with explanations

https://hi.krishnakosh.org/%E0%A4%95%E0%A5%83%E0%A4%B7%E0%A5%8D%E0%A4%A3/%E0%A4%AE%E0%A4%A8_%E0%A4%B0%E0%A5%87_%E0%A4%AA%E0%A4%B0%E0%A4%B8%E0%A4%BF_%E0%A4%B9%E0%A4%B0%E0%A4%BF_%E0%A4%95%E0%A5%87_%E0%A4%9A%E0%A4%B0%E0%A4%A3_-%E0%A4%AE%E0%A5%80%E0%A4%B0%E0%A4%BE%E0%A4%81%E0%A4%AC%E0%A4%BE%E0%A4%88

A good background on Meera: 

https://ph.krishnakosh.org/krishn/%E0%A4%AE%E0%A5%80%E0%A4%B0%E0%A4%BE%E0%A4%82


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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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