MAA Randal Mataji Na Lota's

There are many reasons why people perform this ceremony, here are some:-

A Maher family tradition were the ceremony is performed when a new daughter-in-law is welcomed into the new home. The ceremony will bring happiness and blessings upon the couple.

In other family traditions the ceremony is associated with the first pregnancy, they will do this on the seventh month to call blessings upon the baby inside the mother to be.

Some parents like to perform the ceremony for an infant boy some time after he has his head shaved at his balmuvara. They ask for Randal Matajis blessings for the new boy’s life. Also this is for when a boy attains the janoi, Randal Mataji will give blessings to the boy and make him safe and be successful in his studies.

Other people do the ceremony for the joy and love for Randal Mataji.

The ceremony is usually performed at home, to also give blessings onto the home. And the ceremony should be performed on auspicious days most commonly Saturday, Sunday and Monday. The priest should always be consulted over the best days for the ceremony.

Everything should be planned in advance so stress is taken away. The priest will make a list of items that they need to get e.g. food artifacts and offerings that are required. The success depends how many goyni's there are. Any woman caste or faith can be a goyni. The goyni must be fit to eat well but not be pregnant. On this day the goyni represent the form of Randal Mataji.

The minimum number of goynies is determined by the number of lota used in the cremony. Lotas are always counted in pairs. With 14 goyni’s for each pair of lotas.

Saturday Evening

The Matajis mudh is ready the priest has already came and set it up, however this room is very devotional and is reserved for mediation and devotional songs, food is prepared. Although Kheer and paar are done the following day.

Sunday Morning

The priest arrives early morning and performs the puja, firstly prayers to lord ganesh and homage to him who removes obstacles. Flowers are given and ganesh is washed. The priest will invite all gods and goddess, ancestors, planets holy rivers and Randal Mataji. During the puja two ghee lamps will be lit. Once lit, the lamps must remain alight until the ritual on Monday. The lamps are witnesses to the ceremony. They signify continuity throughout the following days of ritual.

Milk is offered to Mataji and the priest may leave. Preparation of two spiritual foods, the kheer and paar. After the puja, the householders will go to Randal Mataji's mudh to invite a Bhuy Maa or a Bhuvor in the form of Randal Mataji. Although the divine mother is everywhere-especially in our hearts-it is part of the tradition of the ceremony to extend a formal invitation.

The house holders should carry kumkum, rice, friut and a coconut with them, as offerings. The bhuy maa or Bhuvor will explain his or her rituals at this time. The householders pray that Randal Mataji comes back to there home and bless them.

It is still early morning by this time the special foods for the ceremony should be prepared. The kheer and paar should remain in the house at all times. The first person to be offered is of course Randal Mataji. Kheer and paar is offered in a thal. There are special garba sung at this time. The goynis arrive with there families, treat them with great respect as if they were your daughters. Randal mataji's physical presence is one of them goynis.

The first mark of respect is washing the big toe of the goynis feet. Attach few grains of rice to the chandlo; the big toe of the goynis foot is now washed. Bathe each goynis toe in turn with warm water, milk and warm water again. After the toe is washed, they apply another chandlo with rice to the goynis washed toe. Remember that the washing is an act of love and devotion towards Randal Mataji. The washing should be performed by a women, usually the lady of the house hold, If possible, it should be done in the shrine room. Complete your devotions to each goyni by offering her a present of a chandlo and sopari (betel nut). Other presents may be offered as well.

During the stage of the ceremony, it is vital to keep an accurate count of the number of goynis who have had their toes washed. The success of the ceremony depends upon having the minimum number of goynis required by the number of lotas on the mudh. Having more than minimum number of goynis is not a problem.

Now the goynis can eat within the household, but she must eat properly (several mouthfuls at least) - and she must eat kheer and paar first. After she has eaten the goyni is free to leave, although she is of course more than welcome to stay on. No kheer or paar may leave the house. It must be consumed within the four walls of the family home. Now is the best time to sing Mataji garba. The singing of the garba should be encouraged throughout the ceremony. They create a deeply spiritual atmosphere and they focus the minds of householders and guests on the wonderful event.

Sunday afternoon around 4.00 pm everyone will gather around the shrine room for the singing of garba. I f there is a single best time to sing garba this is it. Mean while someone goes to the mudh to invite the bhuy maa or the bhuva over to the house where the ceremony is taking place. The bhuy maa or bhuva will become the channel through which Randal Mataji speaks to the devotees. While the household continues to sing garba the bhuy maa or the bhuva will enter the shrine room and perform his or her own personal ritual at the mudh to prepare oneself for what is to come. This part of the ceremony is called the ghoro kundwo. As singing progresses the bhuy maa experiences surge of energy that transforms her into the mouthpiece of Matajis. The more love, devotion, and energy that the devotee put into their garba and into the ceremony the stronger is the presence of the deities during the "ghoro kundwo".

The householders will now ask Mataji through the bhuy maa whether the ceremony has been successful. They should ask for forgiveness for any mistakes. There is no particular form of words for this conversation words should be loving and respectful.

Matajis reply comes to the householders through the medium of the bhuy maa or bhuva. More garba should now be sung as Prasad and milk are offered to Randal Mataji. Special garba invite that Mataji to come to eat. If necessary the bhuy maa will guide the householders on the procedures to follow.

After the thaal the devotees sing praise to Randal Mataji through the ritual known as aarti. Finally there are a few more prayers and then everyone can relax because the day’s ceremonies are over. However this is a useful time to pause for thought to consider the mystery and the meaning of the day’s events.

After the aarti the householders fast is also over. They can at last enjoy the food they provided for their guests. But they should not forget their witnesses the two ghee lamps. They must keep an eye on those lamps overnight. For spiritual and for safety reasons it’s advisable for someone to sleep overnight in the same room as the lamps.

Monday morning

Once again the house holders must fast until the mornings rituals have been completed. Daatan (a special toothbrush stick) and milk should be offered to Randal Mataji.

The priest returns early on Monday morning to perform another puja. This puja gives thanks to Randal Mataji and gives her leave to go. It can take up to an hour and involves the priest and two householders.

There is another special Prasad to accompany this puja. This puja comprises khuller and coconut. One coconut is offered for every two lotas placed in the mudh. This Prasad is the divine goddess's breakfast. It is offered in a specific order: daatan; milk; khuller; and coconut. As always the priest will advise on the procedures.

This puja ends when Randal Mataji leaves to go. The ceremony must be completed by 12.00noon which then after is the mudh (mandap) is dismantled.

After thought - Please don’t lose sight of the purpose of the Randal Mataji ceremony when studying in detail of the ritual. We are inviting the mother goddess to enter our homes with faith and with humility. We love and praise her because she loves us. If we approach her ceremony with good intentions minor errors will surely be forgiven.

Randal Mataji

Sacred Symbols

Sacred symbols which embody unspoken intuitions of the spirit adorn India's art, architecture and iconography. Here are 34 of the most beloved.

	Shri Ganesh Ganesh is the Lord of Obstacles and Ruler of Dharma. Seated upon His throne, He guides our karmas through creating and removing obstacles from our path. We seek his permission and blessings in every undertaking
	Aum is the root mantra and soundless sound from which all creation issues forth. It is associated with Lord Ganesha. Its three- syllables stand at the beginning and end of every sacred verse and every human act.
	Anjali the gesture of two palms pressed together and held near the heart, means to "honour or celebrate". It is our Hindu greeting, two joined as one, the bringing together of matter and spirit, the self meeting the self in all.
	Padma is the lotus flower, Nelumbo nucifera, perfection of beauty, associated with Deities and the chakras, especially the I ,000 petalled sahasrara. Rooted in the mud, its blossom is a promise of purity and unfoldment.
	Gaja is the elephant, king of beasts and sign of royalty and power He is Indra's mount, denoting the dominion of Heaven's King. In large Hindu temples and elaborate festive pagentry there is always a noble elephant.
	Ghanta is the bell used in ritual puja, which engages all senses, including hearing. Its ringing summons the Gods, stimulates the inner ear and reminds us that, like sound, the world may be perceived but not possessed.
	Gopura are the towering stone gateways through which pilgrims enter the South Indian temple. Richly ornamented with myriad sculptures of the divine pantheon, their tiers symbolise the, several planes of existence.
	Swastika is the symbol of fortune - literally "It is well". The right-angled arms of this ancient sun sign denote the indirect way that Divinity is apprehended: by intuition and not by intellect.
	Nandi is Lord Shiva's mount, or vahana. This huge white bull with a black tail, whose name means "joyful" is disciplined animality kneeling at Shiva's feet , the ideal devotee, the pure joy and strength of Saiva Dharma.
	Mudra are hand gestures employed in sacred dance and puja to focus the mind on abstract matters and to charge the body with spiritual power. This is chinmudra, the gesture of realisation, reflection and silent teaching.
	Trishul Shiva's trident, carried by Himalyan yogis, is the royal sceptre of the Saiva Dharma. Its triple prongs betoken desire, action and wisdom; ida, pingala and sushumna; and the three gunas - sattva, rajas and tamas.
	Chakra or "wheel", is the circle of time, symbol of perfect creation, of the cycles of existence. Time and space are interwoven, and eight spokes mark the directions, each ruled by a Deity and having a unique quality.
	Mayura "peacock" is lord Murugan's mount, swift beautiful like Kartikeya Himself. The proud display of dancing peacock symbolises religion in full, unfolded glory.His shrill cry warns of approaching harm.
	Shikara is the massive superstructure which above the cave-like sanctuaries of temples in India. It is a living model of Mount Meru, the centre universe where the themselves reside.
	Konrai Golden Shower, blossoms are the flowering symbol of Shiva's honeyed grace in our life, Associated with His shrines and temples throughout India, the Cassia fistula is landed in numberless Tirumurai hymns.
	Vata the banyan tree, Ficus indicus symbolises Hinduism, branches out in all directions draws from many spreads shade far and wide, yet stems from one great Shiva as Silent Sage sits it.
	Seval is the noble red rooster who heralds each dawn, calling all to awake and arise. He is a symbol of the imminence of imminence of spiritual unfoldment and wisdom. This fighting cock bravely crows from Lord Skanda's battle flag.
	Hamakunda the fire alter, is the symbol of ancient Vedic rites. It is through the fire element denoting divine consciousness, that we make offerings to the Gods. Hindu sacraments are solemnised before the fire.
	Mahakala "Great Time", presides above creation's golden arch. Devouring instants and eons, with a ferocious face, He is Time beyond time, reminder of this world's transitoriness, that sin and suffering will pass.
	Shivliga is the an mark or symbol of God. This elliptical stone is a formless form betokening Parasiva. That which can never be described or portrayed. The pedestal called pitha, represents manifest Parashakti.
	Kuttuvilaku the standing oil lamp, symbolises the dispelling of ignorance and awakening of the divine light within us. Its soft glow illumines the temple or shrine room, keeping the atmosphere pure and serene.
	Dhavja "flag", is the orange or red banner flown above temples, at festivals and in processions. It is a symbol of victory, signal to all "Sanatana Dharma shall prevail". Its bold colour betokens sun's life giving glow.
	Natraja is Lord Shiva as "King of Dance". Carved in stone or caste in bronze. His ananda tandava, the fierce ballet of bliss, dances the cosmos into and out of existence within the fiery arch of flames which denote consciousness.
	Shri Paduka the sacred sandals worn by saints, sages and Satgurus, symbolise the preceptor's holy feet, which are the source of his grace. Prostrating before him, we humbly touch his feet for release from worldliness.
	Naga the cobra, is a symbol of kundalini power, cosmic energy coiled and slumbering within man. It inspires seekers to overcome misdeeds and suffering by lifting the serpent power up the spine into God-Realisation.
	Mushika is our Lord Ganesha's mount, the mouse, traditionally associated with abundance in family life. Under cover of darkness, seldom visible yet always at work, Mushika is like God's unseen grace in our Iives.
	Shatkona "six-pointed star", is two interlocking triangles; the upper stands for Shiva, purusha and fire, the lower for Shakti, prakriti and water Their union gives birth to Sanat Kumara, whose sacred number is six.
	Kalasha a husked coconut circled by five mango leaves on a pot, is used in puja to represent any God, especially Lord Ganesha. Breaking a coconut before His shrine is the ego's shattering to reveal the sweet fruit inside.
	Rudrakha seeds, Eleocarpus ganitrus, are prized as the compassionate tears Lord Shiva shed for mankind's suffering. Shaivites wear malas of them always as a symbol of god's love, chanting symbol of God's love, chanting on each bead.
	Vel Lord Murugan's holy lance, is His protective power, our safeguard in adversity. It's tip Is wide, long and sharp, signifying incisive discrimnation and spiritual knowledge, which must be broad, deep and penetrating.
	Mankolam the pleasing paisley design, is modeled after a mango and associated with Lord Ganesha. Mangos are the sweetest of fruits, symbolising auspiciousness and the happy fulfilment of legitimate worldly desires.
	Tripinda is the Saivite's great mark, three stripes of white vibhuti on the brow. This holy ash signifies purity and the burning away of anava, karma and maya. The bindu, or dot, at the third eye quickens spiritual insight.
	Shankha the water-born conch, symbolises the origin of existence, which evolves in spiralling spheres. In ancient days it signaled battle's victory. In the Lord's hands it is our protection inner from evil, sounding the sacred nadi.
	Urdhvapundra is the royal mark upon the forehead of Vaishnavities. Two white lines are Vishnu's footprint resting upon a lotus base, The red represents Lakshmi. Thus the Lord's lowest part is worshiped on our highest.