Loka Loka Me Mira Ki Khoj

Here's a comprehensive summary of the Jain text "Loka Loka me Mira ki Khoj" by Kahaini Manavat, based on the provided pages:

The book "Loka Loka me Mira ki Khoj" (The Search for Mira in the Worldly Realm) by Kahaini Manavat, published by Z_Ashtdashi_012049.pdf, delves into a lesser-explored aspect of the revered saint-poetess Meerabai – her connection with the "Lok" (the common people and folk traditions). The author posits that while much has been written about Meerabai, the focus has often been on her royal life and her poetic works, neglecting the rich, unrecorded traditions of folk literature and music associated with her.

The Neglect of the "Lok" (Folk) Aspect of Literature:

The introduction highlights a significant gap in literary history. It points out that many individuals dedicated themselves to their creative pursuits without seeking fame or recognition, contributing a vast amount of songs, ballads, stories, and other forms of literature to the public. This "Lokdhara" (folk stream) of literature, when it resonated with the masses, was passed down orally from generation to generation, gaining refinement like pure gold. The author argues that this folk-produced literature is truly timeless and has a unique ability to endure. Interestingly, while prolific writers might remain anonymous, some who wrote or sang little have gained lasting recognition due to the lasting impact of their ideas, citing the guru-disciple relationship of Ravidas and Mira as an example.

Meerabai's Life and the "Lok" Connection:

The text emphasizes that Meerabai's life can be broadly divided into two phases: her time in Chittor within the royal family's strictures, and the approximately forty years after her husband Bhojraj's death, during which she traveled extensively to various pilgrimage and religious sites. This latter period, spanning about thirty years, was spent in the company of respected saints, ascetics, and spiritual figures. The author laments that those who write literary history have often overlooked or undervalued this folk dimension of Meerabai's life, leading to an incomplete understanding of her impact.

The Disconnect Between "Lok" and Educated Societies:

A key theme is the perceived separation between "Lok Samaj" (folk society) and the "Padhe Likhe Samaj" (educated society). The folk society, often perceived as illiterate and tradition-bound, remained content in its own world. Conversely, the educated society tended to view folk traditions as backward and primitive, and consequently, only literature produced and understood by the educated was considered complete and valid. This led to a situation where folk knowledge, cultural practices, art, and music, which held immense value and were often hidden within the common populace, were largely ignored. The author argues that the educated society failed to recognize that the "Lok Samaj" represents the true soul of India, possessing a rich and deeply rooted traditional culture and consciousness. The true essence of traditional knowledge, the author contends, is often preserved not just in written manuscripts but also in the minds and oral traditions of the people.

Meerabai's Spiritual and Folk Legacy:

The text highlights Meerabai's profound spiritual immersion, particularly in her devotion to Krishna, as her most significant aspect. However, it criticizes scholars for not delving deeply enough into this spiritual dimension, often reducing her interactions with saints and her devotional singing and dancing to mere superficial accounts. The author points out that Meerabai's paternal family was not particularly supportive of her spiritual inclinations, especially after she was not fully accepted by her in-laws in Chittor. This lack of acceptance from both royal families meant that she did not find much sympathy from the royal circles even when she moved into the public sphere.

The Ubiquitous Presence of Meerabai's Songs in Folk Tradition:

The book asserts that countless "pad" (songs) and "bhajans" (devotional songs) attributed to Meerabai are prevalent in the folk traditions across India. This includes various forms like "byavale," "dhale," "dhamale," "khyate," "bate," "parchian," and "faliyan." Her name is celebrated in regions far beyond Rajasthan, including Kathiawad, Gujarat, Sindh, Haryana, Madhya Pradesh, Maharashtra, Tamil Nadu, Telugu states, Punjab, Braj, and Uttar Pradesh.

The Origin of Folk Songs and the Need for Verification:

The author raises a crucial question: how did the numerous "bhajans" sung in Meerabai's name originate? Many of the singers themselves admit that they don't remember when or from whom they learned these songs. When deeply immersed in singing, they feel a loss of self and spontaneously compose verses attributed to Meerabai, often singing through the night without any written or pre-learned material. This leads to the vital question of whether the "pads" taught in schools and colleges are indeed composed by Meerabai herself, or if they are later additions. The text points out that women, in particular, can be found continuously singing new "pads" in her name within the folk society, and even tribal communities sing in her name in various forms. The author questions the source of this knowledge and the individuals who are teaching and singing these devotional songs.

The Scholarly Pursuit of Authentic Works:

There is a growing and persistent need among scholars to compile authentic collections of Meerabai's "pads." Despite numerous compilations being published, there remains no definitive consensus on which "pads" are genuinely her compositions and which are interpolations.

Ravidas as Meerabai's "Rah-Guru" (Guide on the Path):

The text mentions Ravidas as Meerabai's "Rah-Guru," stating that she left Chittor with him and he remained by her side throughout. The author then discusses the strong tradition of anonymous literary creation or the use of assumed names and imprints. Examples are given of individuals who wrote anonymously or under pseudonyms. Mohanji from Akola village in Chittor district is cited as having composed approximately fifty thousand "pads" anonymously. He would attribute these to singers, musicians, and devotional performers he encountered, thereby creating works under the names of Premdas, Devlal, Joravarmal, Gangaram, Kaluram, Ramlal, Raghavlal, Tekchand, Shankarlal, Laxmilal, and others. Similarly, some "pads" are found under the name Chandrasakhi, with an individual from Udaipur writing a hundred such "pads" under the "Chandrasakhi" imprint.

The Importance of Studying Folk Forms:

With the increasing prominence of regional dialects and their assertion of existence, the author emphasizes the need for a systematic study of the literary forms sung in Meerabai's name. This study will shed new light on the various poetic genres associated with her and will provide a deeper understanding of meter and embellishments, contributing significantly to literary scholarship.

In essence, "Loka Loka me Mira ki Khoj" is an endeavor to bring to light the rich, often unacknowledged, folk tradition surrounding Meerabai, urging a re-evaluation of her legacy beyond academic circles and into the vibrant heart of the common people's culture.