MY POEM, '"THE NIGHT OF PARTING,1990"

                                                                         

 

( The Night Of Parting )

It was four-thirty in the morning,
Kashmir asleep,
Buried under ice and fear.
January held its breath.
The sky was pitch dark,
As if even dawn was afraid to arrive.

Not loud,

A feeble knock at the door,
As if sound itself could betray us.
The taxi driver did not call our names.
He did not need to.
We had been awake since three,
Listening to time drip like water from a cracked roof.

 

This was not a journey.
This was an ending.

We left behind
Our names,
Our addresses,
Our temples,
The walls that knew our laughter,
The thresholds that had learned our footsteps.
We left behind
Gods wrapped in fear
And memories too heavy to carry.

“Leave Kashmir, ” they said.
“Leave if you want to live.”

Our names hung
On the list outside the mosque,
Like verdicts,
Like graves dug in advance.

My brother worked for BSNL.
They said we owned a wireless set for prying.
They said we were Indian agents,
Spies, informers,
Enemies of faith,

Enemies of land.

We were none of those things.
We were only Pandits.

Mother stepped out first,
Her shawl trembling in the cold,
Her eyes searching the dark
For a future that had no shape.

Then came Raja,
Our neighbour,
Mohammad Sidiq’s wife,
Sondhar Ded’s daughter-in-law,
My mother’s third daughter
After Suneeta and Lalita.

She held my mother
As if holding a dying homeland.
She sobbed, not loudly,
“Bhabi,” she said,
“My parental home is dead now.”

She kissed my mother’s hand,
Pressed it to her forehead,
And called her daughters close.

“Afroza, hug Bhabi.
Sarah, come—hug Bhabi.”

Her voice cracked
Like frozen earth.

“You leave.
Leave now and save your lives.
Wherever you go,
May Allah keep you safe.”

She paused,
Then whispered like a confession:

“For me, Bhabi,
You were the cool shade
Of a majestic Chinar tree.
I will miss you.”

Fear returned to her eyes.

“Go, go before this rascal Mohammad Sidiq wakes up.
He follows the Mujahids.
He says Pandits should go to hell.
He says no connection with you people.”

She pushed us gently
Towards the waiting taxi,
As if pushing us
Across a border of blood.

“Leave me to Allah’s care,” she cried.
“May Allah ruin the families
Of those who drove you from your home.
I wish I could be born again
To repay your kindness.”

Her voice chased us
As we walked away.

“Leave, Bhabi…
Leave… leave… leave…”

The taxi driver lifted our two bags,
All that remained of a lifetime.
He spoke in whispers:

“Come quickly.
Do not speak outside.
People will go to the mosque soon.
I will be noticed.”

Fear sat beside us
As the taxi moved.

Across Pampore’s saffron fields,
Once purple with fragrance,
We saw convoys of pain:
Trucks, taxis, families,
Pandits packed with silence,
Moving towards Jammu,
Toward exile,
Toward the unknown.

Highways flooded with sorrow.
Faces hollow,
Eyes asking roads
Where they were being taken.

We were not travelling.
We were being uprooted.

That morning,
We did not knock on doors anymore.
We knocked on
Misery.
Suffering.
Pain.

And they opened.

 ( Avtar Mota)

PS

BSNL stands for Bharat Sanchar Nigam Limited, the public sector telecommunication giant of yesteryears. 

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APPROPRIATION OF LAL DED'S PHILOSOPHY AND PERSONALITY

APPROPRIATING LAL DED'S  PHILOSOPHY AND PERSONALITY 

                                                                     

                                                

Those who don't know, Pratyabhijna , Abhasvada,  Spanda , Anavopaya, Sakthopaya , Sambhavopaya,  Prakasha , Vimarsha , Ardhanarishwara, Shakta-  Tantra, Krama, Kaula, Shunyavada, Argha, Panchbhoota, Ataman, Brahman, Yoga-Kriya, Chit'a, Brahmanda, Chaitanya, Advaita ,Shiva-Tattva, Shiva-Sutras and personalities like Adi Sankara,  Utapaldeva , Abhinavagupta and  Kshemraja  are simply parroting ideas, speaking jargon to impress , focusing on appearances rather than substance and connecting ' Irrelevant or Spurious  Issues'  to appropriate  Lal Ded's core message and personality   . No genuine discourse on Lal Ded is possible unless the speaker or speakers have knowledge of these fundamental issues and personalities. Quite often, we find ignorance speaking to ignorance for appropriation of Lal Ded and her message towards a desired objective.  This act of appropriation makes many persons invent Vaaks and link them with Lalleshwari.

It is equally important to study books like  "Mahanayprakasha ( written in the 13th century by Kashmiri and Sanskrit poet Shiti kantha ) " and "Chhuma Sampradaya/ Chhuma Sanketa Prakasa( written in Kashmir around the 12th century )" to know the Kashmiri dialect, syntax and words used in the  14th century  Kashmiri language and before . 

( Avtar Mota)

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IN A RELATIONSHIP , COMPARISONS CREATE TOXICITY

                                       

IN A RELATIONSHIP  , COMPARISONS CREATE TOXICITY 

Comparisons can be toxic in relationships.  When we compare our partner to others, it breeds unrealistic expectations and lack of appreciation for individuality. It is to be understood that everyone is unique and incomparable.Comparisons are often  a reflection of our own insecurities. When you compare you get  pain because you are  often focussing on what your partner  lacks rather than appreciating what he has . Comparisons can also stem from  low self-esteem and societal pressure to keep up with others.

Comparison is also a result of observing others. When we observe others, it's easy to fall into the comparison trap . We start thinking, "Why can't we be like them?"  It needs to be borne in mind that comparisons are often based on superficial  viewing or surface viewing . We don't  actually get a glimpse of  behind-the-scenes stuff, the struggles, or the imperfections.

The message of this post excludes umbilical cord relationship.

( Avtar Mota )

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TOO MUCH EMPHASIS ON PERFECTION IS FATAL IN EVERY RELATIONSHIP

                                               

TOO MUCH  EMPHASIS ON PERFECTION  IS FATAL IN EVERY  RELATIONSHIP

When we expect perfection ,  we set unrealistic standards which often lead to constant criticism and nitpicking. Perfectionism often  creates resentment and frustration, lack of intimacy and vulnerability, A perfectionist always moves with  fear of  being  judged. A perfectionist keeps himself under constant stress and passes it to everyone around apart from   creating  a  feeling in others that  they're walking on eggshells .

Too much emphasis on perfection can be toxic in a relationship .When we're too focused on being perfect, we can be overly critical, miss the beauty in imperfections  and always forget to enjoy the moment. Perfectionism can lead to anxiety ,stress , a perpetual fear of failure or  mistake or  lack of authenticity. 

A  perfectionist may    develop 'Chaos Personality' often thriving  on drama and impulse  . They can be intense, passionate, and alluring, but  also draining and perpetually passing on stress  . Dealing with them  may become challenging because you  never know what will trigger the next explosion .

Embracing imperfections can foster deeper connections, encourage growth and learning and bring more  happiness while keeping stress away. A survey in an American medical journal pointed out that a good number of couples suffer from hypertension because either of them happens to be a perfectionist .

( Avtar Mota )

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A HUMBLE HOMAGE TO GURU TEGH BAHADUR JI ON HIS SHAHEEDI JAYANTI

                                                                                 

A HUMBLE HOMAGE TO GURU TEGH BAHADUR JI ON HIS SHAHEEDI JAYANTI

Generations of Indians shall remain indebted to him for the supreme sacrifice that he offered for the sake of Dharma and righteousness. Not many of us know that Guru Ji was an accomplished poet and scholar as well. His verses are frequently sung in gatherings. These verses (115 hymns) are included in the Guru Granth Sahib. “Sadho, Rachna Ram banaayi ‘ remains my favourite. I have translated it into simple English

साधो, रचना राम बनाई।

इकि बिनसै इक असथिरु मानै, अचरज लखिओ न जाई॥

काम क्रोध मोह बसि प्रानी हरि मूरति बिसराई।

झूठा तन साचा करि मानिओ जिउ सुपना रैनाई॥

जो दीसै सो सगल बिनासै, जिउ बादल की छाई।

जन नानक जग जानिओ मिथिआ, रहिओ राम सरनाई॥….( Guru Tegh Bahadur Ji )

My translation is as under:-

O Sage! This world was shaped by the Lord himself.

When one individual passes away, the other thinks he is to stay here forever.

Those living fail to understand this wonder of the world.

The amorous desires, anger and attachment hold sway over all mortal beings,

And they forget the formless Lord, the timeless entity.

Think not it to be real, this body is false, like a dream that one witnesses during sleep at night.

Whatever one sees in this moment will also vanish like the shadow of the moving cloud in the sky.

O servant of Nanak, treat this world as false, surrender to the holy refuge of the Lord.

( Avtar Mota )

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SOME LINES FROM MY LATEST POEM," AISSE BHI GHAR AAOONGA"

                                          

To this photo, I add  some lines of my latest poem," 

Aisse Bhi Ghar Jaaoonga"

"बादल का साया बन कर अब अपने शहर में आऊँगा....

जैसे फिर आँधी देखूँगा, सिमटूँगा, उड़ जाऊँगा...

दिन में बनजारों की बस्ती शहर से दूर सजाऊँगा,

रात अंधेरे अपने घर के दरवाज़े पर जाऊँगा.....

मेरे घर आने पर इतनी शर्तें और इतना तकरार,

तुम इक चेहरा  नया  लगाना ताड़ कहाँ मैं पाऊँगा...

लीडर, दफ्तर, अफसर, हाकिम साहब सब अब देख लिए,

राम कहानी अब मैं अपनी इनको नहीं सुनाऊँगा"...

( Aisse Bhi Ghar Jaaoonga )

Baadal ka saaya ban kar ab apne shahr me  aaoonga ....

Jaise phir aandhi dekhoonga  simtoonga  udd   jaaoonga ....

Mere ghar aane par itni shartein aur  itna taqraar,

Tum ik chehra naya lagaana  taad kahaan mein paaoonga ...

Din mein banjaaron ki basti shahr se door sajaaoonga ,

Raat andhere apne ghar ke darwaze tak  jaaoonga...

Leader, daftar ,afsar , hakim sahib sab  ab dekh liye ,

Ram kahaani mein  ab apni   inn-ko nahin  sunaaoonga 

( Avtar Mota)

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JIVEM SHARDA SHATAM...MAY WE LIVE A HUNDRED AUTUMNS (YEARS)

                                           

MAY WE  LIVE   A HUNDRED AUTUMNS (YEARS) ..JIVEM SHARDA SHATAM

 There are many temples in the US built by immigrants from India. Indians from the southern states and Gujarat have done something unbelievable in this area. Over the past few decades, these temples have become powerful symbols of devotion, cultural preservation, and community bonding. These temples are also centres that are engaged in the task of maintaining the continuity of the civilisational ethos of India.  Some temple trusts in the US impart knowledge of Hindi, Sanskrit, Indian classical music, Indian classical dances, and the value system of Indian society at large to young children. In September 2025, we visited Shree Umiya Dham Temple in New Jersey. The priest inside the temple said," Jivem Sharda Shatam”, the moment he put a Tilaka on every visitor’s forehead and gave him some Prasada. As a token of blessings, he put his hand on the head of every visitor.  The vibrations of positive energy and good feelings are always felt by such gestures.

Jivem Sharda Shatam is a common blessing, especially used for birthdays, that wishes for a long, healthy, and prosperous life. Jivem Sharda Shatam has come to us from Atharva Veda .A prayer Mantra from Atharva Veda (19.67) says this:-

पश्येम शरदः शतम्

जीवेम शरदः शतम्

बुध्येम शरदः शतम्

रोहेम शरदः शतम् 

पूषेम शरदः शतम् 

भवेम शरदः शतम्

भूयेम शरदः शतम्

भूयसीः शरदः शतात्

(A hundred autumns may we see.

A hundred autumns may we live.

A hundred autumns may we know.

A hundred autumns may we grow.

A hundred autumns may we thrive.

A hundred autumns may we be.

A hundred autumns may we bide.

A hundred years and even more....)

 

There are some more Mantras in the Atharva Veda where prayers for a life of a hundred years are made. The common Vedic understanding is that the natural or full span of human life is one hundred years. While one hundred years is the standard measure, some verses in the Atharva Veda include prayers to live "even more than a hundred autumns," suggesting the possibility of a longer life. There is a verse in the Atharva Veda (17.1.27) that uses the phrase "a thousand years, "Sahasra Ayuh sukritah chareyam"  (For all thousand years of our life, may we be doing good work).

The sentiment "May you live a hundred years" is also found in the Upanishads. This is often expressed in the Sanskrit phrase "Shatāyur vai purushah" (A man's life is indeed a hundred years). The Isha Upanishad (Verse 2) states that one should desire to live a full human lifespan of one hundred years while performing one's duties or actions (karma):

"In the world, one should desire to live a hundred years, but only by performing actions. Thus, and in no other way, can man be free from the taint of actions."

The Chandogya Upanishad, in one specific interpretation (Purusha Vidya), describes a person's life in terms of oblations, which can total up to a lifespan of 116 years.

This lifespan of approximately 100 years is generally considered the full potential for a human being, provided they live a healthy life and follow their dharma (duty). The ancient Hindu scriptures often divide this life into four stages (Ashramas) of approximately 25 years each:

 

Brahmacharya (student life)

Grihastha (householder life)

Vanaprastha (retirement/forest dweller)

Sannyasa (renunciation)

                                               

According to Hindu mythology, time is divided into four great ages known as Yugas, each with distinct characteristics. These are:

1.      Satya Yuga – The Golden Age of Truth and Purity

2.     Treta Yuga – The Age of Righteousness with a Gradual Decline

3.      Dwapara Yuga – The Age of Doubt and Conflicts

4.      Kali Yuga – The Age of Darkness and Corruption

According to Hindu  scriptures, Kali Yuga began in 3102 BCE, meaning over 5,000 years of Kali Yuga have already passed. According to the Bhagwat Purana and the Garuda Purana,  in the Kali Yuga, the life span of human beings will be a maximum of 100 years, and it will show a declining trend as the Yuga progresses, and at the end, it shall be just 12 Years.

Once a Muslim friend took me along to  a well read   and  progressive Muslim scholar .  When we left , he said , " sadd sii saal zinda rahein " or 'may you live for one hundred thirty years' . Kashmiri Pandits used to say "lachha trogun aay " ..And Persian knowing elders in Kashmir would say " Sadd bees Saal ". Sadd bees Saal means may you live for 120 years . What is meant by "laccha trogun aay" ? My mother used to say it frequently to all who came to our house . She would also say it to our vegetables seller, the milkman , and many more people everyday .In Kashmiri Lachha means one Lakh and Trogun means three times. It could mean 3,00,000 years .I am not sure..

 

(Avtar Mota )

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MY POEM : A DAY IN THE REFUGEE TENT 1990.

                                                                          

    

( The Tented Colony of Kashmiri Pandits at Mishriwala in Jammu )

BARAMULLA MADE ME WRITE THIS POEM 

Saw the Baramulla movie yesterday. It is a different movie. I will see it again and then write a review. My mind was instantly flooded with memories of 1990. And I wrote this:-

( A Day of June 1990   and the  Tented Colony of Exiled  Pandits in Jammu  )

In the sweltering heat of Jammu's June,

Bansi Lal sleeps inside his Tent without a fan,

Sweating yet snoring,

While the world outside is busy and engaged.

Perhaps he has nothing to do ;

His bank accounts have not been transferred yet,

His children have no school to go, 

The water tanker from PHE didn't arrive today.

No salary,

No office,

Nothing in the bank,

Sleep comes without effort.

Lakshmi Nath died  yesterday from heatstroke, 

Rupawati   died after being stung by a deadly snake,

Death has rituals, 

The dead need  space to mourn them, 

And rituals don't know harsh weather.

Pinkoo is shivering with a high fever,

His mother doesn't know what Malaria is.

The sun rains fireballs from the sky as some  politician comes in a Jeep,

He distributes pamphlets, and the speaker blares:

" Desh ke gadhaaron ko

Jail mein bhejo saaron ko"

And  tents don't have windows, 

The residents just listen to this noise,

And stay inside.

Unafraid of heatstroke,

The greedy brokers from Kashmir move  through the tented colony with deceit and treacherous intentions, 

seeking power of attorneys from the exiled and hapless victims to grab their properties for peanuts.

Greed is a chameleon;

It visits its victims with gifts that they miss,

A bunch of nadru and some green leafy haak, 

with enough of  saam,daam,dhand and bhed, 

Tarsem, the vegetable seller, drags his cart 

through the rugged and rough path inside the colony.

He cries," kadam, nadru, haak ' 

He knows he will sell everything in one round.

 The vegetables that the hapless consume 

don't need special soil, seasons or manure to grow.

The Relief Tehsildar and  his Naib move through  the tented colony, 

They talk to some young women, making promises of green pastures.

The women look disdainfully at both,

And spit at them in anger 

as they go back inside their tents.

The Katha Upanishad says,

"Suffering puts you on the path of Sat-karma (righteous deeds) ", 

And wolves don't always succeed.

Forgetting their Shiva,

Every day, the exiled now  pray to  the Vedic gods;

Indira for  early Rain,

Surya for  relief from the blazing sun,

Vayu for some  cool breeze,

Varuna for shelter and refuge,

Mitra for  being kind and just,

And Ushas for dispelling darkness. 

( Avtar Mota )

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SHIVA, DANCE AND MUSIC

                                             

                                                                                 

SHIVA, MUSIC AND DANCE 

"I am not sure if my writing or words can describe the role and the essence of Shiva. My introduction to Shiva happened through His Bhairav. When I was four, or a bit older, I used to enjoy a fast composition, which is set in a 10-beat cycle at a faster tempo. My father and uncle, the Dagar Brothers, Ustad N Faiyazuddin and Ustad N Zahiruddin, used to sing with the fabulous Pakhawaj player of the era, Pandit Gopal Das Panseji, who accompanied them. Their presentation of the composition was so powerful that it used to shake the world for me. Things around me would vibrate. At that time, I was not aware of the word “Tandav”. I used to love this composition:-

Shankar, Girijapati, Parvati, Pitieswar, Galey Mund Maala, Mahamaheshwar,

Jata mein Ganga, Trilochan, Trishul, Dhar nano Kailashpati, Satiwar, Bhuvaneshwar...."

(Ustad Wasifudin Dagar, the well-known exponent of Dhrupad ) 

Shiva is believed to be the originator of all forms of creative expression, including dance and music. According to popular belief, the saints who acquired the knowledge of music from Shiva disseminated it amongst human beings on earth. The formless Shiva represents pure consciousness (Purusha), and his consort Shakti embodies the dynamic energy (Prakriti); their union is considered the source of all existence and movement in the universe. In ancient scriptures, Shiva is considered the source of music and cosmic dance, the Tandava. The primordial sounds of his Damaru drum are believed to have given birth to the seven musical notes (Swaras). 

OUR CLASSICAL MUSIC AND SHIVA

The sounds from his Damaru and dance are believed to have given birth to the Sapta Swaras, or the seven musical notes of Indian classical music (Sa, Re, Ga, Ma, Pa, Dha, Ni). It is believed that Shiva's Tandava, a dance of creation, destruction, and transformation, produced the first sounds. Each movement and rhythm from his dance generated sacred sounds that evolved into the basis of music. The Damaru, a small hand drum, is said to have produced the first sound, "Nada," from which all other vibrations and sounds originated. According to some traditions, Shiva and Parvati created the Rudra Veena, one of the first musical instruments, as a result of their love and devotion to each other. Several ragas in Hindustani and Carnatic classical music are linked to Shiva, with Bhairav,  Kedar and Shankara being prominently associated with him. Other ragas frequently linked to Shiva include Shankarabharanam, Panthuvarali, Kedaram, Hindolam, Bhupalam, Keeravani, and Malkauns. 

                                            

( Shiva's Bull , Nandi with a bell around its neck ) 

 According to the ancient texts, Goddess Parvati created Malkauns raga to pacify Shiva during his Tandava dance. Furthermore, the five primary ragas in classical music, namely Shree, Deepak, Hindol, Megh, and Bhairavi, are believed to have originated organically from the 'Panchmukhas' of Lord Shiva. Apart from Damaru and Rudra Veena, Shiva is also associated with musical instruments like Shankha or conch shell, Ghanta ( Shiva's bull Nandi wears a bell ), Singa ( mentioned in Shiv Purana, Shiv Samhita and Chandi Mangal Kavya) and Mridangam.

OUR CLASSICAL DANCE AND SHIVA 

 Shiva has many aspects or forms. As Natraja, he appears as the Lord of the Dance. The dance illustrates Shiva's role as the deity who destroys the cosmos so that it can be renewed again. Shiva oversees the endless cycles of time, marking its pace with his drum and footsteps. This dance symbolises the eternal rhythm of creation, preservation, and destruction, reflecting the cyclical nature of existence and the cosmic order. The Tandava is divided into two aspects: Ananda Tandava, representing the blissful dance of creation, and Rudra Tandava, representing the fierce dance of destruction. Both aspects illustrate the multifaceted nature of Shiva's cosmic dance, encompassing creation and dissolution within its divine rhythm.

In response to Shiva's Tandava, Parvati is believed to have performed the Lasya dance. The term literally translates to beauty, grace, and happiness. Lasya is a graceful, delicate, and it expresses happiness, beauty, and grace, often as a response to the masculine, vigorous dance of Tandava, performed by Lord Shiva.. According to ancient scriptures, Parvati taught Lasya to Usha, the daughter of King Bana, and Usha then passed the dance to the Gopis of Dwaraka, who eventually spread it throughout India. 

Garba dance is considered a form of Lasya, a graceful and feminine style of dance rooted in the feminine principle of divinity. Folklore in Gujarat suggests that the popularisation of Lasya Nritya, which became known as garba, was carried out by Usha, the granddaughter-in-law of Sri Krishna. Lasya is one of the two main types of dance in ancient Indian texts like the Natyashastra, the other being Tandava. 

Modern physics reveals that subatomic particles are not static objects but rather a dynamic "dance" of creation and destruction, a concept that resonates with Tandava or Shiva's cosmic dance. The ring of fire surrounding the Shiva Nataraja figure represents the continuous creation and destruction of the universe, with his dance symbolising the constant motion and change at the subatomic level. 

CERN is the European Organisation for Nuclear Research, an international scientific organisation that operates the world's largest particle physics laboratory near Geneva, Switzerland. It conducts research into the fundamental constituents of matter and the forces that govern them, using the Large Hadron Collider and other particle accelerators. Outside CERN in Geneva ( Switzerland), there is a 2 metre tall statue of Shiva Natraja. The statue is a visual representation of the complex, energetic, and cyclical nature of reality as understood by modern particle physicists. The plaque on this two-metre-tall statue of Shiva Natraja outside CERN reads this:-

"Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics."

( Avtar Mota)

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SUNSET ,HUDSON RIVER FRONT AND MY POEM .......

                                      

SUNSET, HUDSON RIVER FRONT AND MY POEM .......

(Tonight's Music )

"The strings of the Veena are slack,

Silent, trembling with unspoken grief.

No drum, no flute, no accompanying sound is tuned;

No note dares to rise.

This Jugalbandhi will birth no music,
Not a single Doppler’s beat to stir the air.

The audience is drifting away,

Their footsteps echo in the empty hall.

A few who stayed back are unfamiliar with Raag -Shastra,

Who shall call forth Kedara, Yaman,
Durga, or Bhairavi?
Even sixteen beats of Teen Taal

Can’t weave their rhythm into the Veena’s silent lament.

Soulless shall be the Dhrupad tonight,
Tonight, O Master!

What music do you propose to play?

 

(Avtar Mota)

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

THE JOY OF BEING WITH LITTLE CHILDREN

                                   

THE JOY  OF BEING  WITH   CHILDREN 

The soul is healed by being with little  children.”........Dostoevsky

The Upanishads say , "children are  embodiments of the divine, bringing happiness and a connection to the cosmic process of creation. They are the  gifts from God, products of past Karma, and a source of fulfillment and continuity for the family". 

 Little children  bring  innocence , purity , happiness  and simplicity  in our lives .  All these  act as tools for relaxing and   softening even the most burdened hearts. Being around innocent children has a  profound impact on one's soul in  healing  the wounds that we  get by joining the mad race for acquiring  material goods , social acceptance, command and  control . These wounds are washed by a child's laughter, curiosity, and innocence. The unconditional love and acceptance  that one receives from a child can provide comfort and pure happiness. The time spent with little innocent children  makes on understand the importance of living in the moment.

Interacting with children  proves beneficial for stress reduction, mood elevation and fostering a deep sense of compassion and empathy. I have  observed that  mentoring or guiding little  children can promote self-reflection, patience, and personal growth. Those who spend quality time with little children, unknowingly,  develop an attitude of  accepting people as they are and also forgetting and forgiving quickly .Being around children's innocence is being born once again as child.   A child's   ability to find joy and meaning in life despite its challenges is not only something to learn about  but it also  serves as a powerful reminder of human resilience.

The unconditional love of innocent children comes to us through hugs, cuddles, and kisses. They also exhibit fondness and love by sharing toys  or  eatables in their hands.

Children develop special  bonds  not only with their  primary caregivers like mother or father but also with grandparents. By interacting with grandparents, children learn about family ties and develop stronger social skills which helps them in connecting  to their roots and strengthening their sense of identity.

Grandparents are like the root of a tree, which makes the tree strong and stable.  The grandparents give quality time that helps a child to understand  and develop a perspective about the  world around him.Grandparents have to be  playful and relaxed in their  approach  to  strike compatibility . This shift in approach  proves enormously beneficial for stress busting.  And the  bond can be incredibly beneficial for both children and grandparents. I have seen some people having  greater attachment and affection for their grandchildren which far exceeds  their love for their own children. And I have also seen innocent children not getting  a satisfactory reply from their parents when they repeatedly ask , "why don't dadi , dadu,nani , nanu  live in this house." 

 

( Avtar Mota)

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.