Unique Features of The Wari :

9) Were any disputes to be settled in the WARI, they are jointly debated and settled by the MALAK, CHOPDAR, the DINDI PRAMUKH (chief), and the trustees of the Devasthanam under the flag (with the blessings / approval of) SHITOLE SARKAR.

10) Barring the aforesaid MANACHE KEERTAN (performed in the traditionally determined sequence), no KEERTANs are performed during the WARI. The sequence has been laid down by Shri Guru Haibat Baba and is dutifully adhered to even today by his descendants.

11) The most visually impressive activity in the WARI is the RINGAN (literally meaning circular pattern) made by the WARKARIs. There are two formations in the RINGANS – namely standing in linear formation and circular. During the SOHALA, 3 standing and 4 circular formations or RINGANs are conducted. Further two of them are performed along the left side of the PALKI and two on the right, two before and two after lunch during the WARI. Post the RINGANs WARKARIS arrange themselves and dance in various formations holding their cymbals – playing them in rising and falling crescendos matching the varying rhythms of the PAKHAWAJ while the boisterous chanting of MAULI ! MAULI ! continues unabated. This entire event is guided by the CHOPDAR. These jumps and rhythmic movements are called the UDICHA KARYEKRAM.

12) The abhangas to be recited / sung during the WARI have a prescribed sequence and set of norms that have to strictly be adhered to. Roopache abhangs (describing the deity), Bhupali (urging the Lord to wake up and start the day), Vasudev (urging people to start their day), Andhale, Pangale, Gavalani etc are to be recited in the early hours of the day while HARIPATH, Guru-Parampara, Naats are reserved for the afternoons. Certain abhangs are to be chanted on particular days of the week. These are suitable adjusted within the recitation time-table of the WARI.

13)  The same Abhanga is rarely recited across all DINDIs simultaneously. However, it can be seen that all the participants within the DINDI chant the same abhanga in unison.

14) Post lunch, the HARIPATH is chanted. The last couplet (Dnyanadeva pramana Nivrutti Devi Dnyana…) is sung in the stationary position, and as a finale, the ground below their feet is acknowledged (worshipped) as if to convey the respect and regards of the WARKARIs at the feet of MAULI.

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