Jyeshta Shukla 1 , Vik. Samvat 2083, Yugabda 5128 : 16 June, 2026: SM 8006 (For Private Circulation only)
1. FESTIVALS: NIRJALA EKADASHI VRAT: Nirjala Ekadashi, in the Shukla
Paksh of Jyeshtha (June 25 this year) is the most important and significant
Ekadashi out of all twenty-four Ekadashis in a year. It is also known as Pandava
Ekadashi, Bhimseni Ekadashi or Bhima Ekadashi due to an incident associated with
Mahabharat.
2. KARYAKARTA VIKAS VARG 2 CONCLUDES: Rashtriya
Swayamsevak Sangh’s 25-day Karyakarta Vikas Varg Dwitiya concluded on June 4 in
Nagpur. It had commenced on May 11 with the participation of 880 shiksharthis,
ranging from ages 21 to 40, from across Bharat. The highlights of the varg were
sharirik & yoga training, organisational skills and discipline, bauddhik-discussions,
Ghosh and Path Sanchalan through the streets of Nagpur. On the concluding day, a
public Samrop was organised where shiksharthis demonstrated different physical
skills learned during the varg.
The renowned industrialist Kumar Mangalam Birla graced the event as the Chief
Guest. Praising the Sangh’s century-long contribution to society and
nation-building, Kumar Mangalam said that RSS had stood with the nation through
wars, natural disasters, pandemics and other challenges while continuing to
inspire confidence in Bharat’s future. Maharaja Gaj Singh of the erstwhile
Marwar Royal Family, Jodhpur; Pujya Shri Yogi Bhavnath Ji Maharaj and many other
eminent dignitaries also attended the programme.
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3. RASHTRA SEVIKA SAMITI VARG: Odisha Prant of Rashtra
Sevika Samiti organised a 15-day Pravesh and Prabodh Varga at MITS College
campus in Rayagada. The training was held from May 16 to June 1 and it hosted
over 100 shikshartis from various districts of Odisha. They were imparted
training in yoga, shakha activities, physical exercises, and Ghosh. Intellectual
sessions and discussions on varous topics were also organized.
4. THREE-DAY NATIONAL EXECUTIVE COUNCIL MEETING OF ABVP:
The Akhil Bharatiya Vidyarthi Parishad (ABVP) concluded its three-day National
Executive Council (NEC) meeting in Bhubaneswar. Held from May 29 to 31, the
meeting witnessed participation of more than 400 representatives from 46 prants
across the country.
ABVP National General Secretary Dr. Virendra Singh Solanki stated that the
resolutions adopted during the NEC meeting reflects the organisation’s broader
vision for a “developed, secure, and self-reliant Bharat.”
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5. BMS ORGANISATIONAL SECRETARY ADDRESSED THE RNATIONAL
LABOUR CONFERENCE: On June 9, Organisational Secretary of Bharatiya Mazdoor
Sangh (BMS), Bojji Surendran addressed the 114th Session of the International
Labour Conference (ILC) of the International Labour Organisation (ILO) in
Geneva. He highlighted Bharat’s achievements in social security coverage, the
challenges posed by artificial intelligence, concerns regarding labour
migration, and the need to uphold workers’ dignity in the changing world of
work.
Referring to global uncertainties, he said, “In a conflict-ridden world, we
recognise the increasing role of trade unions in promoting peaceful dialogue,
policy interventions, deliberating durable solutions and building confidence
among the people”.
He further emphasized that the principle of fair treatment, dignity, and respect
must extend to every category of worker, including those engaged in the rapidly
expanding platform and gig economy. Concluding the address, he said, “With
solidarity and shared resolve, let us advance the ILO’s noble mission of
promoting decent work in the world of work.”
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6. MARATHI TRANSLATION OF ‘UNTOLD STORY OF SITA’ WAS
RELEASED: The Marathi translation of American author Dena Merriam's book
‘The Untold Story of Sita’, titled ‘Sitayan: Na Sangitleli Sitechi Katha’, was
released on May 30 at MIT World Peace University in Pune.
7. HSS JAPAN FAMILY SHIVIR 2026: Hindu Swayamsevak Sangh
Japan organised a two day family shivir from May 23 to 24 at Shirako, Chiba.
Around 90 shivirarthis including 18 Bals and 18 Kishores participated in it. The
theme of the shivir was Dharma Moolan Sanskriti Setu. During the Shivir,
Bauddhik sessions and interactive activities were conducted emphasising the
Hindu values & Dharma, Indo-Japanese civilizational relations, leadership
development and community participation.
8. HSS (UK) AT WARWICKSHIRE SCOUTS CAMP 2026: On May
2-3, HSS(UK) participated for the very first time in the prestigious
Warwickshire Scouts Camp held at Ragley Hall, Alcester. Conducted once every
four years, the Warwickshire Scouts Camp brought together nearly 3,300 Scout
children and young people between the ages of 4 and 17.
9. HSS TAIWAN HINDU SAMRAJYA DIWAS UTSAV 2026: The Hindu
Samrajya Diwas Utsav was celebrated by HSS Taiwan on June 6 in the Taipei City.
Around 27 participants were present during the occasion. The celebration
commemorated the inspiring legacy of Chhatrapati Shivaji Maharaj who established
the Hindavi Swaraj. The utsav began with Dwajarohan and Chief guest Prof (Dr.)
Ramesh Jamnadas Lalwani, in his address, recalled how the Sangh supported people
during and after the Partition.
10. HSS JAPAN CLOTH RECYCLE DRIVE 2026: HSS Japan, in
collaboration with local NPOs and Ward Offices, conducted the Cloth Recycle
Drive 2026 as part of its sustainability initiatives. Now in its 11th year, the
program continues to support underprivileged communities and promoting
responsible recycling practices.
11. HSS PHILIPPINES SERVED AT THE CHINMAYA MISSION "CHANT
MAHAVEER" EVENT: In celebration of the 75th anniversary of Chinmaya Mission
and the grand visit of Swami Swaroopananda ji to Manila, 38 Swayamsevaks and
Sevikas of HSS Philippines offered selfless service (Seva) for the mega "Chant
Mahaveer" event. On May 22, a team of 11 Swayamsevaks held intensive final
rehearsals at the AIM Center.
12. HSS LIVERPOOL SEWA WALK IN AID OF MARY SEACOLE HOUSE:
On the 25th of April, Adarsh Parivar Shakha of Liverpool organised and led a
meaningful two-hour Sewa Walk at Sefton Park in Liverpool to raise funds for
Mary Seacole House, a charity dedicated to supporting mental health and
wellbeing within the community. Rooted in the principle of Sewa, the event
brought together volunteers, families, and supporters who were eager to
contribute to a positive cause through collective action.
The walk created an uplifting atmosphere of unity and purpose. Participants of
all ages joined the initiatives along the scenic route in Sefton Park,
demonstrating enthusiasm, commitment, and a genuine desire to make a difference.
Throughout the event, volunteers ensured that everything ran smoothly and
safely.
The Sewa Walk successfully raised £400 for Mary Seacole House. This contribution
will support the charity’s ongoing work in empowering individuals and
strengthening community wellbeing. -GoTop
13. ANNUAL HSS SEWA EVENT BY HSS SLOUGH & MAIDENHEAD:
The warm Sunday morning of April 26 brought together families and friends from
the four shakhas of Slough and Maidenhead as well as the wider community in a
spirit of unity and selfless service. The event saw turnout of over 90
participants of ages 3 to 70 walking together to raise funds for Alzheimer’s
Dementia Support (ADS) charity, which supports those affected by dementia in the
Maidenhead, Slough, Langley, Windsor and Ascot areas.
HSS Sewa, Saroj Mistry emphasised, “Dementia affects not just individuals but
their families and loved ones. As a community, we have a collective
responsibility to show genuine care for those in need and to support them
without judgment.” -GoTop
14. FOOD FOR THOUGHT: Do not look at anybody in terms
of friend or foe, brother or cousin; do not fritter away your mental energies in
thoughts of friendships or enmity. Seeking the Self everywhere, be amiable and
equal-minded towards all, treating all alike. – Adi Shankaracharya
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JAI SHRI RAM
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BHARAT MATA: A CULTURAL ICON & CIVILISATIONAL SPIRIT REVERBERATING THE
MESSAGE OF UNITY IN 21ST CENTURY
SANJANA R. NAIR
Women are
traditionally associated with nurturing, giving life and protection. It is for
this very reason that nations use female allegories to represent the country as
a mother figure. A mother figure who nurtures and protects its people.
In Greek mythology, Athena was considered as the goddess of wisdom and strategy.
She was considered the patron goddess of Athens, the city to which she gave her
name. Apart from Athena, the Greek goddess Nike, the goddess of victory also
found a prominent place in Greek history and mythology. Alexander used Nike as a
symbol of state power and military success on his coins. Her image continues to
inspire modern symbols of achievement, including the design of the original FIFA
World Cup trophy and the design of the Olympic medals even today.
Apart from ancient Greece, the French Republic has Marianne, a female figure
representing liberty and reason. Britannia has long been the national
personification of Great Britain. In the United States, the Statue of Liberty is
a female colossus symbolizing freedom and democracy. Lady Justice representing
the moral authority of judicial system is derived from figures like the Greek
goddess Themis and the Roman goddess Justitia.
Allegorical figures help invoke emotional connection and patriotism among
citizens by personifying the nation’s values and identity through familiar
imagery.
In many languages and cultures, countries are referred to using feminine
pronouns. This is most probably because personification of countries based on a
female figure appears to be more natural and organic.
In India after the uprising of 1857, the notion of India as a ‘single nation
state’ rather than a collection of states emerged. It is subsequent to this that
the idea of Bharat Mata as an icon of the Indian nation state arose. The first
time we hear of a ‘National Mother’ is in a Bengali play written by Kiran
Chandra Banerjee in 1873 wherein he mentioned ‘Bharat Mata’ in his play ‘Bharat
Janani’, which further popularized this idea.
The play dealt with the Bengal famine in the 18th Century and showed how people
were motivated by a goddess to rise in rebellion against the East India Company.
In 1882, the theme of the sanyasi rebellion against the British emerges once
again in the novel Anandamath by Bankim Chandra Chattopadhyay. He introduces the
concept of Vande Mataram or salutation to the Mother. The Mother is
personification of the nation, however, the nation in this depiction is Bengal,
not Bharat.
Amritha Shergill’s depiction of Bharat Mata is as a poor rural Indian woman with
an infant son on her lap and a young daughter by her side, gazing directly at
the viewer. Around the late 1920s or early 1930s, Roop Kishore Kapoor rendered
his take on Bharat Mata. Published in 1931 as a lithograph, it depicts Bharat
Mata arising from a partially visible map of India, including British Burma.
In his work, Kapoor transforms India into a prosperous, industrious
landscapefarmers working the land, boats plying the coasts, a train traversing
the east, lofty mansions and temples dotting the terrain. With her body
seamlessly merging into the mapped geography, the four-armed Bharat Mata
figuratively emerges from the land, towering over the busy landscapes.
Post
independence, M. L. Sharma painted his rendition of Bharat Mata in which she
appears as a young woman in an ornamental bodice, her hair blowing against a
background halo suggesting the dawning sun. She boldly rides a chariot pulled by
two fierce lions, the newly authorized Indian flag fluttering above within the
glowing aura. The entire ensemble sits atop a purple globe outlined with the map
of India. Scripted across the map in Devanagari is the Swadeshi movement slogan
“Vande Mataram”.
Sardar Sobha Singh’s Bharat Mata depicts the mother figure with a divine halo,
wearing a sari draped in Roman fashion.
The picture shows Bharat Mata stroking the mane of a fierce lion as it snarls at
an overturned British Crown. In the backdrop, the Ashoka Pillar can be seen
rising.
The acclaimed artist and painter Jivaji Bhikaji Dixit ‘s allegorical
representation of Bharat Mata embodied the nation’s spiritual ethos. Dixit
depicted Bharat Mata as a four-armed Goddess occupying the map of India. On her
left stands a lion, an emblem of power.
In 2005, a century after Abanindranath Tagore first painted Bharat Mata in his
new “wash” style in 1905, M.F. Husain rendered his own provocative modernist
nude version. The painting depicts the sun rising over the serrated Himalayas
and a svelte woman’s torso and limbs whimsically outline India’s map. The spokes
of the national flag’s wheel mark the heartland.
Her body was inscribed in English important cities and places: Cochin, Chennai,
Bangalore, Goa, Hyderabad, Goa, Kolkata, Mumbai, Jaipur, Varanasi, Delhi and
Srinagar. Two other names appear, Gujarat and Bhopal. The woman is painted in
deep red and saffron shades. Over the Bay of Bengal, an outline of a man is
shown meditating and on the Arabian Sea, a ship is seen sailing.
The iconic personification of India as Bharat Mata has been reimagined by
artists across the decades to channel the spirit of the times. From
Abanindranath Tagore’s graceful Bengal school style to Amrita Shergill’s
emotion-laden peasant mother, the visualizations have evolved with India’s
self-perception. In a 1962 print, the broken column of the lion capital is
surrounded by a pack of guardian lions of the goddess protecting the border in a
nation at war with China. Sumathi Ramaswamy, in her book, The Goddess and the
Nation: Mapping Mother India, talks about this powerful blending of the
“scientific-geographic” and the “anthropomorphic-sacred” in the visualisation of
the country.
Despite each artist having imprinted their unique vision onto the allegorical
mother figure, we find that certain motifs persist-the ubiquitous presence of
saffron evoking spirituality, the map integrating nationhood, and the lion
symbolizing strength and sovereignty.
As India underwent pivotal milestones from the Swadeshi movement to Independence
to becoming a Republic, artists responded by portraying Bharat Mata as
increasingly powerful yet always nurturing. This remarkable lineage of paintings
demonstrates how creative minds mutually reinforce both art and nationhood.
Apart from the
allegoric representation, the slogan “Bharat Mata Ki Jai” also became popular
during the freedom struggle. Azimullah Khan, one of the main architects of the
Revolt of 1857, coined the slogan ‘Madre Watan, Bharat Ki Jai’ (Mother of the
nation, victory to India), which later came to be known as ‘Bharat Mata Ki Jai’.
In terms of calendar art, one of the most well-known renditions of Bharat Mata
in pre-independence India became one in which freedom fighter, Bhagat Singh, was
shown to be offering his head to the personified nationalistic goddess. The
first calendar image of Singh with Bharat Mata was printed in 1931 after which,
his popularity among the Indian masses made the print mainstream.
From a reading of the various literature on the topic, it is clear that the idea
of India as “Bharat Mata” was a central and formative concept in the philosophy
of modern Indian nationalism and the concept of patriotism was reinforced during
freedom struggle through all artistic forms including poetry, songs, essays as
well as visual art representation of Bharat Mata.
A close look at
the origin and subsequent evolution therefore shows that the picture of Bharat
Mata reflects a cultural metaphor that emerged during India’s anti-colonial
struggle and has persisted as a symbolic representation of the Indian nation.
One of the reasons Bharat Mata remains relevant is that its interpretation has
evolved. Artists, activists and communities have adapted the image to reflect
changing political and social contexts. Modern depictions sometimes place Bharat
Mata amidst representations of farmers, soldiers, scientists or children,
emphasizing collective progress.
Others depict her alongside maps, landscapes or cultural motifs from across
India showcasing it as a flexible cultural symbol capable of absorbing new
meanings.
For India, secularism has never meant the exclusion of cultural symbolism.
Instead, it stands for equal respect for diverse faiths and freedom of
interpretation. Cultural metaphors, patriotic songs or artistic idioms are not
inherently anti-secular unless enforced as mandatory expressions of religious
loyalty.
The picture of Bharat Mata, when viewed as a representation of the nation,
aligns with this inclusive understanding. It does not compel worship or
prescribe a religious ritual. Rather, it offers an artistic embodiment of
national identity.
Critics sometimes argue that the saffron colour or the feminine divinity-like
form associates the image with one particular religious tradition. Yet these
elements have broader cultural meanings in India. Saffron has historically
symbolized renunciation, courage and sacrifice across various communities.
Similarly, the mother metaphor—’Dharti Maa’/ ‘Janmabhoomi’—appears in many
Indian languages and cultures, independent of specific religious iconography.
Therefore, interpreting Bharat Mata exclusively through a narrow religious lens
overlooks the layered and diverse ways in which Indian culture uses metaphor and
symbolism.
While the allegorical representation of Bharat Mata was a powerful symbol during
the freedom struggle, the question is – what is the relevance of the allegory of
Bharat Mata in post-independence era? Though there was no official adoption of
Bharat Mata as an allegorical figure when India became a republic, an analysis
of the Constituent Assembly debates show that the sentiment behind “Bharat Mata”
was evident during the debates regarding Article 1 of the Constitution, which
deals with the name of the country.
Several members advocated for the name “Bharat” instead of “India” (or along
with it) on the grounds that it was deeply rooted in India’s ancient history and
culture.
Members like Seth Govind Das expressed pleasure at the inclusion of “Bharat” and
specifically mentioned the freedom struggle slogan: “Bharat Mata Ki Jai”,
linking the name directly to the emotional and patriotic fervour the allegory
inspired.
Post-independence, therefore, though there is no official adoption of Bharat
Mata as an official allegorical figure, neither is there a constitutional or
statutory bar on displaying such culturally significant symbols. The State
Emblem of India (Prohibition of Improper Use) Act, 2005; governs the misuse of
the national emblem but does not prohibit symbolic or poetic representations of
the nation.
The principle of secularism, as enshrined in the Indian Constitution, mandates
the State to maintain neutrality in matters of religion and to ensure that no
citizen is discriminated against on religious grounds. In S.R. Bommai v. Union
of India, the Supreme Court held that secularism is a positive concept of equal
treatment of all religions and not mere ‘non-involvement’. The Court further
observed that “religion and culture are not mutually exclusive in the Indian
context” and that the State can recognize and support cultural expressions that
strengthen national integration.
Similarly, in M. Ismail Faruqui v. Union of India, the Court clarified that
secularism in India does not require the state to be anti-religious or to erase
the nation’s civilisational identity. In fact, the Court emphasized that
cultural heritage is not inconsistent with secularism and that the state may
recognize symbols and practices rooted in Indian civilisational identity.
Further, in Bijoe Emmanuel v. State of Kerala, the Supreme Court upheld the
right of individuals to express their reverence for the nation in forms
consistent with their conscience, reinforcing the idea that patriotic expression
need not conform to a single, state-prescribed format.
Symbols like Bharat Mata transcend any single faith and represent the emotional
and spiritual unity of the people. It therefore falls within the domain of
cultural nationalism, not religious partisanship.
Even
historically, the Indian tradition has recognised this plural and inclusive view
of governance. As Justice Rama Jois famously articulated, “Secularism in Bharat,
in the sense of equal treatment for all, was part of Rajadharma, our ancient
constitutional law”.
Bharat Mata is not a religious figure. She is a metaphor, a poetic embodiment of
the land and its soul—shared by Hindus, Muslims, Christians and all communities.
Faith may be personal, but reverence for the motherland transcends sectarian
lines. Her invocation is not an act of exclusion, but a reaffirmation of
belongingness and in revering her, we are revering the emotional and
constitutional architecture of the Republic itself.
A most alarming aspect of the world today is the fact that people are quick to
‘brand’ others. There is a growing tendency to reject all things that are
historically significant and culturally revered for fear of being branded. There
is a growing feeling that it is essential to reject all culturally relevant
things to be treated as ‘progressive’. However using secularism as a weapon to
dismantle civilizational memory is not in the best interest of the nation. We
cannot be victims of selective cultural amnesia. Most importantly one must be
able to assert the right to cultural expression without fear of labels.
In this context it is heartening to note the steps taken by the Ministry of Home
Affairs establishing a first- ever protocol for rendition of the national song
Vande
Mataram. It was directed that all six stanzas of Vande Mataram must be rendered
in full, if played along with the National Anthem Jana Gana Mana, Vande Matram
must be played first and the audience must stand in attention when it is
rendered (except when it is played as part of a film/newsreel) It was very
heart-warming to see the directive being followed at the Kerala Cabinet swearing
in ceremony.
It is also interesting to note that even this protocol of singing the National
Song was challenged before the Apex Court. During the course of arguments,
Solicitor General Tushar Mehta had to intervene to emphasise that respect for
the National Song was organic and ideally, even an advisory was not necessary.
Though the Apex Court dismissed the matter terming it as ‘premature’, it is
circumstances like these that make one wonder if Article 51A of the Constitution
should have specifically incorporated as a fundamental duty respect for all
national symbols and signs rather than limiting it to the National Flag and the
National Anthem. But then, no one would have even remotely guessed that a time
would come when even nationalism would have to be insisted on.
Coming back to the discussion on Bharat Mata, one wonders how this
quintessential national personification will continue to transform. Will she
take on a more global or humanitarian avatar? Or retreat into traditional
iconography?
Ideally, a mature, pluralistic democracy should strive, not to remove such
potent unifying symbols but to reaffirm their original, inclusive meaning. As
long as
artists draw on inventiveness and insight to shape their renditions, Bharat Mata
will remain a compelling symbol, her visual evolution reflecting the progress of
the nation itself. Bharat Mata belongs to the map of India. She is not the
mother of a faith, but the mother of the land that is home to all faiths.
Honouring her is only a reaffirmation of the nation’s shared identity and
collective commitment to the nation she so powerfully embodies. And despite
everything, like the soul of India, Bharat Mata too is timeless, inclusive and
indivisible.
https://organiser.org/2026/06/01/356154/bharat/bharat-mata-a-cultural-icon-civilisational-spirit-reverberating-the-message-of-unity-in-21st-century/
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