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Prabht Samgiita
Some Salient Features
and
Musical Expression of Neohumanism
What is the significance of the name Prabht Samgiita? From the name, apparently one would
conclude that this school of music has been named after its composer, Prabht Ranjan Sarkar. But
that is not the whole truth. Rather, this school of music heralds the glorious dawn of a new era.
Here, Prabht means the new dawn, and the word Samgiita denotes the totality of song, instrumental
music and dance. So, Prabht Samgiita signifies a new awakening on the horizon of the musical and
cultural world. That is why it has been named Prabht Samgiita.
Optimism, not pessimism
Many songs in vogue in the world consist of verses and rhymes that convey the ordinary. In the
name of modern songs there are many such pieces written in good language. Also, in the present
day writings, whether in the music world or literary world, one can easily find a huge mass of
literature reflecting dire pessimism, and melancholy, unfulfilled desires and broken promises.
One of the prominent features of Prabht Samgiita is its distinct note of optimism reflected in its
songs. Having this quality, Prabht Samgiita is a marked departure from some present trends of
composition. While despair and suffering are recognised, there is not an iota of pessimism that
creeps into the songs. No one need be pessimistic.
Take song number 1761 commencing with the verse:
Jiivant nay theme thk bhi
Brother, life does not cease;
Arper pne nece cali
We go on, dancing toward the formless.
Kdibr tare sini mar
We come not to weep,
Chande o gne kath bali
But to express rhythm and song.
The song conveys that life ceaselessly moves on and in that movement we should best express
ourselves. The song also contains the two lines:
Prer kti cetanr dyuti
With vigorous zeal and radiant spirit,
Sab nirshke cale dali
We go on, trampling despair beneath our feet.
It stresses that we must move on, trampling underfoot all pessimism.
As the essence of Prabht Samgiita conveys a positive new dawn rising on the skyline of world, it is
rightly called Songs of the New Dawn.

http://sarkarverse.org/wiki/Jiivanta_nay_theme_thaka_bhai

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Novelty in use of language, tune, rhythm and idea

There are also noticeable formal features in the songs. Prabht Samgiita songs are a class of their
own, with their different use of language, varied tunes, enchanting rhythms and their own superb
and subtle ideas.
Language, tune, rhythm and idea these four are the indispensable parts of a song. For musical
excellence, compositions in high regard have these four qualities in them. They have novelty and
excellence in bh (language), sura (tunes or melody), chanda (rhythm) and bhva (idea or inner
spirit). In Prabht Samgiita the last three are always universal in nature, only the first one is regional.
Although most songs are in Bengali, there is no sentiment of regionalism or other limited ism.
Language
The language of Prabht Samgiita is simple and direct, sweet and sympotic (i.e. communicates
additional layers of meaning). Numerous songs are composed in the simplest language, with much
use of verbs indicating movement. Some listeners of songs have a queer notion that simple and
colloquial words are not good enough to be used in poetry and songs. But Prabht Samgiita makes a
bold departure from any such established practices.
Tune
Almost every song in Prabht Samgiita has a new tune or a significant variation of a tune.
Sometimes even one song has a blending of two or more tunes, making the song sweet and
universalistic in appeal. This entreats the listener, even if not familiar with the language of the song.
Rhythm
According to the composer of Prabht Samgiita, the ensuing generation is the generation of rhythm.
Songs which are not rhythmic have less or no appeal to the people. The quest for rhythm is a trend
of the age, and so we can say 95% of Prabht Samgiita is rhythmic this has deepest appeal to the
psyche.
Idea
The ideas of songs should be profound and lofty in order to have impact on the mind. Prabht
Samgiita songs bring the mind in tune with the higher spiritual world. The inner spirit of Prabht
Samgiita songs is mostly mystic. The effect is that the singer has an ever conscious desire to have a
close communion with the Beloved that Supreme Consciousness (Parama Purua) and state of
absolute perfection. The singer knows that his or her thoughts are still confined by microcosmic
imperfection, but by unbounded grace found in unfathomable love of his/her dear Beloved, one day
s/he will overcome all imperfections and become one with the Beloved.

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As examples of expressions of such divine feelings, take songs numbers 1, 8 and 13. And there are
many others.
Song number 12 starts:
Bandhu he niye calo
My abiding friend, take me and let's go
lor oi jhar dhrr pane
Toward the fountain of streaming effulgence.
It is a simple song expressing that Parama Purua (the Supreme Consciousness) is the real friend,
and it conveys the importance of seeking guidance to move along the spiritual path.
The composer himself described the inner meaning of song number 1 as:
Paramapurua is the real friend. Oh Paramapurua, direct me unto the fountain of
divine effulgence. I was slumbering in Cimmerian darkness, I was an ordinary atom.
But now I can no longer tolerate the staticity of darkness. Oh Paramapurua, sing before
me the song which will arouse me from my deep slumber. Sing before me that song
which will show me what is what and which is which.
Song number 83 starts:
mi jete ci tumi niye jo
I want to go; Lord, take me away.
Bdhr bdh sab chie do
Let all bonds and obstacles be shattered.
It means I want to go with that Supreme Consciousness and come closer and not be disturbed by
relative worldly bondages and obstacles.
The composer described the inner meaning of song number 8 as:
I have the intense desire to come to You and move along with You, Oh Paramapurua,
but there are innumerable obstacles on the way. I want to move along with You, but in
this material world, my mind is always being disturbed by various worldly bondages
and obstacles. O my Lord, crush all those bondages, those walls of obstacles, and take
me along with You. So many worldly waves come and go according to Your desire, so
please help me, I am ready to do anything and everything for You. Take away all those
obstacles so that I may easily reach Your lotus feet.
Song number 134 starts with the verse:
mi shudhu hesechi necechi
I have only laughed, danced, and sung;
geyechi
With the moonlight I have made friends.
Cder lor sthe bhv karechi
Whatever I have seen, heard, or realized
Jh kichu dekhechi shunechi
I have etched in the jewel box of my mind.
peyechi
Maner mai kothy enke rekhechi
It is expressing a mystical feelings based around the moonlight.

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http://sarkarverse.org/wiki/Bandhu_he_niye_calo
http://sarkarverse.org/wiki/Ami_jete_cai_tumi_niye_jao
http://sarkarverse.org/wiki/Ami_shudhu_hesechi_necechi_geyechi

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This time, the composer described the inner meaning of song number 13 as:
I have fallen in love with the lustre of the moonlight. So I am only laughing and
dancing and singing. I have established my friendship with the moonlight, not with
the moon; because the moon maintains a distance, but moonlight is very close.
Moonlight is my friend, mon ami5. Whatever I have realized, whatever I have
treasured, if various obstacles or hindrances cause that to be lost, still I have lost
nothing. Where there is no divine effulgence, there is no life. But, today, I have
discovered the apostle of light.
Variety of songs and styles
As there are different people with diverse moods, sentiments and propensities of mind, so there
must be varieties of songs. The author in keeping track of the varying psychologies and socia1 needs
of the people, has composed a large variety of songs. Some categories are:
Devotional songs (generally conveying styles of devotional sentiment);
Mystic songs (e.g. deep experiences in dreams);
Songs regarding stages of sadhana (meditation);
Season songs;
Songs of social consciousness;
Marching songs;
Ceremonial songs and song for social functions (e.g. birthday, marriage, baby naming, tree
planting, mourning, Diipavali or light festival, New Years Day etc.);
Children's songs.
Different styles of music are also used, such as:
Ghazal a poetic form of music of Arabic origin, now found in many languages of the
Indian sub-continent;
Qawwali a musical form of Sufi origin from Persia, now found also in Pakistan, Northern
India and South Asia; and a variation called Broken Qawwali;
Dhrupadii one of the oldest classical forms of music in Northern India;
Tappa a semi-classical form of music, originating from folks songs of the Punjab, which
became popular in Bengal areas;
Thumri a light classical form of devotional music from Northern Indian, with sweet
melodies;
Kheyal a more modern form of North Indian classical music;
Jhumur a traditional form of music from East India;
Kiirtana praise songs that include hymns and mantras to express devotion.
Kiirtana songs
We can quickly mention the kiirtana variety of songs in Prabht Samgiita. These are very direct in
their approach and appeal. If utilised properly, kiirtana can be a powerful means of bringing
5

French for my friend.

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spiritual renaissance to the people. But unfortunately, traditional kiirtana has lost its appeal for
various reasons. Prabht Samgiita makes a revival and modernisation.
One important aspect of kiirtana songs in Prabht Samgiita are their dynamicity. The use of a lot of
repetition is avoided in these praise songs, and instead states of mind or phases of mental expression
are conveyed. In the Prabht Samgiita school of kiirtana there are often three psycho-spiritual states
expressed in a kiirtana composition:
(1) objective personal in which the extroversial mind is withdrawn and becomes absorbed in
the feeling of inner bliss;
(2) subjective personal in which the now introversial mind becomes fully immersed in inner
bliss;
(3) objective impersonal by which the mind returns from its state of inner bliss, but the bliss
still lingers around.
Take, for example, song number 1476 which is a kiirtana melody. The song conveys the mind being
taken away to an inner journey, experiencing inner ambrosia, and returning expressing the same in
the world. First, the mind becomes attracted and absorbed by something sweet:
lo jhalamala madhura nishiithe
At sweet, glimmering midnight,
Tumi esechile mor mane
You came into my mind.
Secondly, the mind is immersed and overjoyed by bliss:
Au paramu mor halo je vibhor
All my atoms and molecules are enraptured.
go
Every part of me weeps for every part of You.
Prati aunga lgi aunga kde je
mor go
Lastly, the feeling lingers in the expression of life:
Prer sakal bhv bhese jy tr
Every expression of my life drifts toward You.
pane
Every beat of my heart races with Your music
Hiyra chanda sab chote je thr

tne
Also, in our school of kiirtana, there is only the devotee and the Beloved (Supreme Consciousness).
No third entity or intermediary is invoked. The existence of such a third factor is not there. It has
been a philosophical mistake in the past to include it. Prabht Samgiita conveys a one-to-one
relationship between the devotee and the Beloved.
Neohumanism
In Prabht Samgiita, the tunes, rhythms and ideas are universal, making the overall style attuned to
the spirit and ideas of Neohumanism. Neohumanism is a philosophy elaborated by Prabht Ranjan
Sarkar, the composer of Prabht Samgiita, that extends the underlying spirit of humanism to
everything, animate and inanimate, in this universe so that the welfare of all entities is considered
and lovingly taken care of.
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In this universalistic spirit the Prabht Gharana (style or school of music) has masterly harmonised
dozens of occidental tunes and rhythms within it, which originate from or are popular in Europe,
the Americas, Africa and the Middle East. Of course, there are also many oriental tunes. As Prabht
Samgiita is the musical expression of Neohumanism both in spirit and form, each and every basic
concept of Neohumanism is beautifully reflected and echoed in the tunes, rhythms and ideas of
Prabht Samgiita.
Song number 37, has been termed Navya Manavatavad Giita (Song of Neo-Humanism). It commences:
dhra shee lora deshe
At the end of darkness, in the realm of light,
Aru bhorer kath
Behold, the crimson dawn
The song ends with:
Sabuj chyy mrger myy
In its green shade all creatures are nurtured.
Ncche ntan abhieke
They dance anew, abluted / afresh.
The song conveys the optimism of a new era with its themes of the crimson dawn and freshness.
The inner meaning of song number 3 is described in its entirety by the composer as:
Darkness has come to an end, crossing the threshold at the edge of light. Now is the
proper time to call all and announce that the crimson dawn has come. The beautiful sky
is studded with so many stars, the air is sweetly scented. The atmosphere, lithosphere,
hydrosphere everything is closely related to me. All the flora and fauna I must preserve;
I must save them from premature extinction, because I love everything of this earth. I
am a neo-humanist. I call one and all to come and create a new rhythm.
Need for social progress and security
We see that our Prabht Samgiita is not merely an aesthetic expression of creativity to give us
listening pleasure; but it also carries a clarion call to wellmeaning people to rebuild society in a
progressive way, knowing that this also involves a process of clash and cohesion to achieve social
progress. That social progress is a collective effort.
The message in song number 498 asks us to get to know each other and come together. It starts like
this:
(mi) Dk diye ji ji ji
I send out a clarion call.
and goes on to say:
Tder ashru jr muchite cy
Those who want to wipe away humanity's tears
Thder jene nite ci
I want to know them.
It also signifies there is no time to wait and see. Hence, the clarion call.
The Neohumanists must know that millions are living a life that is shattered and battered by social
ills. Their eyes are full of tears, their social conditions are dull, the light ahead seems dim, and
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http://sarkarverse.org/wiki/Andhara_sheshe_alora_deshe
http://sarkarverse.org/wiki/Dak_diye_jai_jai_jai

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apparently aimless, but they yearn for social acceptance and social equality. Prabht Samgiita has
strongly reminded us of these facts.
Accordingly, song number 469 commences:
(Er) Knny bhug rudhirete
Downtrodden [literally, red with blood;
ru
figuratively, suppressed and oppressed] they have
broken into tears.
Here we see layers of meaning regarding the conditions of peoples lives. In this way the song
creates sympathy in our hearts.
The inner meaning of song number 46 is described by the composer as:
Those downtrodden people, whose lives are filled with weeping, who have no
aspirations, whose existences have no charm of vitality let us guide them on the path of
light. Let us educate them. Let us fulfil their demands and their needs. Let us restore their
lost dignity. With our hearts overflowing with love, let the sufferings of each be shared by
all, for this world belongs to us all.
To survive people need the security of their basic needs. Neohumanism accepts this fact
unequivocally. So Prabht Samgiita also teaches us to sing and think about peoples social security,
and act accordingly. Again, in song number 46 it goes on to say:
(Eder) Calo niye ji loka snnete
Come, let us bring them to bathe in light;
Basiy dii saphala mnete
Let us restore their confidence;
Sab aprti dr kare dii
Let us abolish all their deprivations
Mamatr dke hrdi bhar
With heartful, loving embrace.
Elevate ourselves and others
But who can shoulder this Himalayan task? The persons who dare to fight against all exploitations
and establish the spirit of Neohumanism in the society must be bold enough, clear-hearted and
optimistic. Such sadvipras (spiritual moralists) are to shoulder this responsibility. Why? Because
their psychology is different.
Displaying courage, yet simplicity, they will say as in song number 5010:
(mi) Raktim kishalay
I am a reddish tender leaf.
Soj pathe cali mi
I walk a straight path,
Bk pathe kabhu kabhu nay
Never a crooked path.
and:
Ucu shire cali mi
I walk with head held high,
Niicu shire kabhu kabhu nay
Never with a bowed head.

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http://sarkarverse.org/wiki/Era_kannay_bhaunga_rudhirete_rauna
http://sarkarverse.org/wiki/Raktim_kishalay

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and:
mr bhute che vajrera bal
mr nkhite che drti vimal

In my arms is the power of thunder.

In my eyes is unclouded vision.

Also, they will sing as in song number 7411:

Cal cal cal cal gn geye cal
shr lokshikh ati ujjval
and:
Avaniike kare tuli muktical
Cal cal ghare ghare gn geye cal

March on, march on singing songs, march on.

The lustrous flame of hope is extremely bright.
Let us elevate the world to a liberated zone
March on from home to home singing songs, march
on.

Neohumanists believe in universalism and they do not accept any other narrower ism based on
geosentiment, sociosentiment or pseudohumanosentiment. One simple way to explain these
various sentiments is in a diagram as follows:
Geo-sentiment
territorial attachment (city, state, country), nationalism
Socio-sentiment
attachment to social grouping (community, religion, caste, tribe, race), communalism
Pseudo-humanism
attachment to own species, speciesism, general humanism
Neohumanism
love and respect for all entities animate and inanimate in the world and universe,
universalism
To a Neohumanist the whole universe is their homeland. Every place and every island is dear to
them, no matter how seemingly small. Everything and every place is surrounded and decorated by
the sea of Cosmic Grace. This universal spiritual feeling is nicely reflected in the English song
number 6812 (apparently first written when Prabht Ranjan Sarkar was 8 years old), containing the
lines:
I love this tiny green island
Surrounded by the sea.
Touched by the sea,
Decorated by the sea.
Am I a secluded figure,
In the vast, a little, a meagre?
No, no, no, no I'm not alone.
Great is with me.
The Great is with me.

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http://sarkarverse.org/wiki/Cal_cal_cal_cal_gan_geye_cal
http://sarkarverse.org/wiki/I_love_this_tiny_green_island

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No scope for dogma

Some philosophies teach that everything is an illusion. But Ananda Marga philosophy does not says
that life is an illusion, or that the world or universe is also an illusion. Such ideas are limiting
because they tend to create indifference to the world, and as they are impractical can be classed as
dogma. Neohumanists reject these type of ideas. They believe, instead, this created universe is a
relative truth (neither absolute truth nor untruth).
In this regard, Prabht Samgiita teaches in song number 7113:
Jagatt nay mithye my
This world is not an illusion,
Mithye rauer khel
A play of false colours.
Liilmayer liil e bhi
It is a sweetly playful dalliance,
Liilr mohan mel
A charming exhibition of sport.
In Neohumanism there is no room for dogma. Mind must be illuminated by study and rationalistic
approach, and this movement towards spirituality must be for the welfare of all. This is called the
proto-psycho-spiritual process, i.e. psychic movement towards spirituality, and will link a person
with the Supreme Consciousness the goal, as well as the guide and divine friend.
Song number 2814 of Prabht Samgiita recognises the need for enlightened thinking and the psychospiritual movement of mind, and expresses it as:
Bandhu tomy kii balibo
My Lord, what shall I say to You
Timirer ghum bhugye diyecho
You who have shattered my dark slumber?
lor pathei calibo
The path of light alone I will tread
Calibo calibo calibo
I will tread, I will tread, I will tread.
It stresses to follow the path of light or expansion of mind.
Principle of Social Equality
For Neohumanism to find its way into ebb and life of society we must become established in the
spirit of Sama-samja Tattva the Principle of Social Equality. One shou1d feel for the other and all
should move together sharing their pain and pleasure, gain and loss; free from all inequalities, with
every one of the human race moving in unison this is called Sama-samja Tattva.
A similar spirit of moving together is reflected in our Prabht Samgiita again in song number 4615
in the verse:
(Eder) calo niye ji loka snnete
Come, let us bring them to bathe in light;
Basiy dii saphala mnete
Let us restore their confidence;
Sab aprti dr kare dii
Let us abolish all their deprivations
Mamatr dke hrdi bhar
With heartful, loving embrace.
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http://sarkarverse.org/wiki/Jagatta_nay_mithye_maya
http://sarkarverse.org/wiki/Bandhu_tomay_kii_balibo
http://sarkarverse.org/wiki/Era_kannay_bhaunga_rudhirete_rauna

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One of the basic tenets of Neohumanism is Cosmic fraternity. Not only for our fel1ow human beings
but for plants and animals also we will maintain a feeling of love and fraternity in the core of our
hearts for these entities and their creations as well. Similarly, Cosmic fraternity is deeply expressed
in Prabht Samgiita.
This sense of fraternity with all entities is seen in song number 12816, a New Years Day song, which
contains the verse:
Vrka latr sabuje bharuk
Let the trees and creepers be plushly green.
Vanya pashur nirpad hok
Let the wild animals be secure.
Pkhiir kanthe amiya bhariy
Let the birds fill their throats with nectar,
Uiy bek dike dike
And in all directions let them take wing.
Spirituality in practice
Love for all living entities, and even non-living manifestations in the ecosystems of the Earth, is a
very high state of mental achievement. It is full of devotion. This is One Love for All. This devotion
is the central point the nucleus of spiritual existence, and Neohumanism is the circle of thought
around that nucleus. Devotional love (bhakti) is the key point, the paramount factor in the whole
philosophy of Neohumanism. It is the costliest and brightest jewel in the human heart. It will have to
be preserved, developed and enriched. For this, one must expand one's mind to infinity through
spiritual practices, overcoming all other narrow sentiments: geo- socio- or pseudo-humanosentiments.
In this process we will walk through three stages:

spirituality as a cult;

spirituality in essence (i.e. as a principle); and

spirituality as a mission.
Here the word cult refers to cultivation or culture, a source of inspiration for spirituality, from
the Latin word cultus, which was the conventional meaning until recently when the media began
to use it differently. Also, the word essence refers to intrinsic psychic thought processes, that due to
universalistic outlook, take a new turn towards spirituality as it becomes a principle of ones life.
Lastly, the word mission refers to being fulfilled in and overflowing with spirituality in ones life or
existential being.
Thus, one will achieve the inner goal of Neohumanism through development in all these three
stages, this is the self-realisation that ones individual existential nucleus coincides with the Cosmic
Existential Nucleus. The three Neohumanist approaches of devotional spirituality are also reflected
in various verses in the Prabht Samgiita songs. Here are some examples.

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Spirituality as a cult in song number 16317, which refers to the practice of meditation and morality
that goes with it, containing the verse:
Manke kona chota kjei nbte dobo I will not let my mind be soiled by any mean
n
action.
N n n nbte dobo n
No, no, no, I won't allow anything mean.
Dhyner loy basiye dobo
I will seat my mind in the effulgence of
Karbo natun dhar racan
meditation,
I will construct a new world order.
Spirituality in essence song number 15618, referring to enlightened psychic outlook and universal
thoughts, containing the verse:
Deshe deshe jo bhiyer matan
Treat those in different countries as brothers and
Sabkr vyth kariy smara
sisters.
Vishvamnav parivr j
Remember all in pain, and care for them.
Tomke dkiche khi chalochal
Today, the universal humanity is your family
It calls out to you with tearful eyes.
Spirituality as a mission song number 14319, a more complex song portraying spiritual fulfilment
by being immersed in spirituality and spreading spiritual vibrations, containing the verse:
mi thri lora arua rgete
With the crimson colours of His light, I will paint
Rauge rauge tre rugibo
Him.
Tr madhura nmti madhura
With His colours I will paint Him.
bhvete
His sweet name, how pleasing it is!
Sakala vishve chaiba
Throughout the universe I will spread it.
Chaye deva go
Yes, I will spread it.
Madhur nm madhur bhve
How sweet, the sweetest name!
Chaye deva go
Yes, I will spread it
Tr madhura nmti madhura
His sweet name, how pleasing it is!
bhvete
Throughout the universe I will spread it.
Sakala vishve chaiba
Concluding words
Prabht Samgiita comprises a vast amount of devotional songs, expressed in a wide variety of ways,
which will help every spiritual aspirant to be one with Parama Purua that Supreme
Consciousness, which is found in ones inner self through spiritual practices. That same Parama
Purua pervades every aspect of existence and everything in the universe is an expression of that
one Supreme Consciousness. Prabht Samgiita conveys to us that through spiritual practices the
microcosmic point comes into close proximity with the Macrocosmic Nucleus this arises through

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http://sarkarverse.org/wiki/Manke_kona_chota_kajei_nabte_dobo_na
http://sarkarverse.org/wiki/Egiye_calo_egiye_calo
http://sarkarverse.org/wiki/Aha_kii_shunilam

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spiritual ideation. Then there can no longer remain two points. They merge into one the unit
consciousness will merge with the Supreme Consciousness. In the end there is no dualism.20
Prabht Samgiita also recognises and emphasises the necessity to serve others in society and to help
create a congenial social environment and security for all living beings (humans, animals and
plants), as well as the environmental as a whole. Everything is dear to us, has value, and deserves
respect; and all people should live according to the Principle of Social Equality, under which
inequalities and disparities are eradicated, so that progress for everyone is possible and continual. In
this way there is consistency between the internal and external rhythms of life.
We can simply conclude, that there are hundreds of Prabht Samgiita songs which are encouraging
our devotional feeling in various ways. Also, lines and verses of Prabht Samgiita are throbbing
with the spirit of Neohumanism. Hence, we can rightly conclude that Prabht Samgiita is the
musical expression of Neohumanism.

Edited and compiled by Dharmadeva (Australia) from various materials including Notes on Spiritual
and Social Philosophy for Second Phase Seminar June, 1983 (edited by crya Vijaynanda Avadhta
and crya Jagadiishvarnanda Avadhta). Extensive content was added by Dharmadeva.
Sincere thanks also to the creators of the websites:
http://sarkarverse.org/
http://sarkarverse.org/wiki/Prabhata_Samgiita
and
http://prabhatasamgiita.net/
http://prabhatasamgiita.net/1-5018.htm.

The total number of Prabht Samgiita songs composed as at 20 May 1983 was 530. The final total
came to 5018.

20

Shrii Shrii Anandamurti, Vraja Kra and Dvaetavda (Discourse 17 of 14 December 1980) in Nammi
Krasundaram, Ananda Marga Publications, Calcutta.

Ananda Marga

RAWA Renaissance Artists and Writers Association