It's fascinating to look back and see how our daily work rhythms have evolved. I recently found a note detailing an average 9.5-hour workday from 2012. The data reveals a culture very different from the flexible, remote-friendly, deep-work focused environments many of us experience today.
The full timeline stretched from 8:00 AM to 5:30 PM. Here is the breakdown:
The 2012 Workday Timeline
Time Slot
Activity
Duration
8:00 AM – 9:00 AM
Breakfast
1 hour
9:00 AM – 11:00 AM
Calls and Work
2 hours
11:00 AM – 11:30 AM
Tea Break
30 minutes
11:30 AM – 12:30 PM
Work
1 hour
12:30 PM – 2:00 PM
Lunch
1.5 hours
2:00 PM – 3:45 PM
Work
1 hour 45 minutes
3:45 PM – 4:15 PM
Tea Break
30 minutes
4:15 PM – 5:30 PM
Work
1 hour 15 minutes
(Total Time)
Total Presence
9.5 hours
Note: An additional 45 minutes was spent on personal calls and "timepass" throughout the day.
Key Insights: Presence Over Productivity
When you tally the hours, some surprising numbers emerge, highlighting a stark difference between time spent in the office and time spent working:
1. Low Direct Productivity
Total Productive Work Time:4.5 hours
The Takeaway: In a 9.5-hour day, only about 50% of the time was spent on actual tasks. The workday was long on presence but low on direct task focus.
2. The Culture of Extended Breaks
Total Scheduled Break Time:3.5 hours (Breakfast, Lunch, and two Tea Breaks).
The Takeaway: This suggests a workplace culture that highly prioritized extended, shared meal and social breaks. The long 1.5-hour lunch, in particular, anchored the middle of the day.
3. Stop-Start Flow
The 4.5 hours of work were heavily fragmented, broken up into four separate blocks: 2 hrs, 1 hr, 1 hr 45 min, and 1 hr 15 min.
The Takeaway: There was very little opportunity for "deep work". The day was characterized by a "stop-start" flow, constantly interrupted by scheduled breaks, making high-focus work difficult.
4. Distractions Were Contained
Personal Time/Distraction:45 minutes
The Takeaway: While nearly an hour of distraction existed, this figure is relatively low compared to modern studies on digital distraction. This likely reflects a pre-peak smartphone/social media era where personal time was a little more contained.
What do you think? Does this 2012 workday look familiar to you? How does it compare to your current routine, especially now that hybrid and remote work are common? Share your thoughts in the comments!
The rhythm of creation often mirrors the earth's own pulse. As the monsoons recede, the river, having generously enriched her banks with invaluable silt, leaves behind the very essence from which Ganapati emerges. This "dirt of the Devi's body" is playfully sculpted into the form of Ganapati, a tradition deeply rooted in the Bhadrapada Shukla Chavathi. His arrival, or Agamana, from this primal clay, and his eventual Visarjan back into the same waters, beautifully encapsulates the cyclical nature of existence. Devi, his mother, arrives a day prior on Tayi/Teej, her beloved Ganapa following, completing this sacred anticipation.
Yet, a profound mystery shrouds Ganapati's emergence. How can the Akash Devata (Lord of Space) choose to manifest from water (Jala Tattva)? As the revered Usha Mangeshkar ji sings in "Rachilya Rushi Munini":
येसी जळातुनी तू कोणा कळे न हेतू
अजुनी भ्रमात सारे योगी मुनी महंत
"How can we understand your objective of coming out of water…
when Rishis, Munis and Mahants are themselves not clear about it."
This paradox hints at a deeper truth. Akasha, meaning space, represents possibility and opportunity. Without space, nothing can be created; without opportunity, nothing can progress. Indeed, space is often considered the first element, a point of deep philosophical debate across the six Darshanas. Ganapati, as the deity of Akasha, is therefore worshipped first, to invoke opportunity and clear the path. A lack of opportunity is the greatest impediment (Vighna), making him the Vighnantaka, the destroyer of obstacles.
His association extends to the sense of smell, which is why he possesses a long nose or trunk. Furthermore, his connection to the Mooladhara Chakra, the Earth chakra, signifies that his grace is paramount for spiritual upliftment, as all spiritual journeys commence from this foundational energetic center. The creation of his Vigraha (idol) from clay further solidifies this deep association with the Earth element.
The Iconography of Stability and Wisdom
Sthairya – Stability – is a cornerstone of Ganapati's very being:
स्थिरैरङ्गैस्तुष्टुवागँसस्तनूभिः
The path of Ashtanga Yoga begins with Aasana Siddhi—the ability to sit stably. Both physical steadiness and mental tranquility are crucial precursors to any form of success. While children are naturally restless, and adults often struggle with mental agitation even during prayer, Ganapati Upasana becomes vital for all, especially for cultivating focus and peace.
Ganesha’s iconography – a Gajanana (elephant-faced), pot-bellied, and inherently heavy form – powerfully symbolizes this stability. He is revered as Guru, a term for both teacher and for that which is heavy, echoing the Sanskrit "Gurutvaakarshana" (gravity). Stability, in itself, has the power to resolve countless obstacles.
Consider the notion of riding a mouse. No one can truly control a mouse, yet Ganapa is known as Mooshakadhwaja. The mouse, in this context, is a potent signifier of our unstable minds and restless senses. Without Ganapati's Anugraha (grace), these turbulent inner forces remain unchecked. Thus, he is the controller of the Mushaka, guiding us towards inner mastery.
The Sacred Form: Omkara Swaroopa
His very form is a profound symbol. When viewed from the side, his Vakratunda (curved face), the expansive Lambodara (big belly), his long trunk, and the crescent moon (Bhalachandra) on his head coalesce to form the sacred symbol of Omkara. This is why he is revered as Omkara Swaroopa. Even in a less popular frontal view, his ancient iconography has been observed to distinctly create the Omkara form, akin to how the Greek letter Omega appears to some.
Original representation of Omkaara on a leaf
One of his tusks is notably broken, held in his hand. This Ekadanta (single-tusked) form points to his renowned role as a scribe. His most immortalized act as a writer is recorded in the Mahabharata, where he was entrusted with transcribing the epic, under the condition that he would only write what he fully understood. That the Lord of the Ganas would undertake such a task remains a mystery, one perhaps illuminated by Sant Dnyaneshwar's observation in the opening lines of the Dnyaneshwari:
एके हाति दंतु | जो स्वभावता खंडितु |
तो बौद्धमत संकेतु | वार्तिकांचा || १२ ||
Ganapati: Lord of All Ganas
The term "Gana" holds dual significance. Firstly, it refers to the Bhoota Ganas, the elemental beings known for creating obstacles. As the Natha (Lord) of these Ganas, he is called Ganapati or Gananatha, maintaining them in check and ensuring smooth undertakings by mitigating their inherent tendency to obstruct.
Secondly, "Gana" refers to groups of elements, particularly in Sanskrit grammar (Vyakaran). As the lord of these linguistic Ganas, his grace is sought for mastery of language, eloquence, composition, and music. It is no surprise, then, that he was the chosen scribe for Bhagawan Vedavyasa's monumental Bharata, itself considered the Pancham Veda.
Note - The lyrics are not pronounced correctly in this version, and one stanza is out of order. But that should not take away the credit for being one of the beautiful renditions of this piece. I consider this as one step taken in the right direction by the producers and artistes, with whatever limited understanding they had about the lyrics.
Lyrics and Translation (corrected)
बाळा जो जो रे कुळभूषणा । दशरथनंदना ।
निद्रा करि बाळा मनमोहना । रामा लक्षुमणा ॥धृ॥
Sleep, my child, ornament of the family, son of Dasharatha.
Sleep, my beloved child, Rama and Lakshmana.
पाळणा लांबविला अयोध्येसी । दशरथाचे वंशी ।
पुत्र जन्मला हृषीकेशी । कौसल्येचे कुशी ॥१॥
A cradle was set in Ayodhya, in Dasharatha's lineage.
A son, Hrushikeshi (Lord Vishnu), was born from Kaushalya's womb.
रन्तजडित पालख । झळके अलौकिक ।
वरती पहुडले कुलदिपक । त्रिभुवननायक ॥२॥
The jewel-studded cradle gleams, priceless.
Above it rests the lamp of the lineage, the Lord of the three worlds.
हालवी कौसल्या सुंदरी । धरुनी ज्ञानदोरी ।
पुष्पे वर्षिली सुरवरी । गर्जती जयजयकार ॥३॥
Beautiful Kaushalya rocks it, holding the string of knowledge.
Gods shower flowers, resounding with shouts of victory.
विश्वव्यापका रघुराया । निद्रा करी बा सखया ।
तुजवर कुरवंडी करुनिया । सांडिन आपुली काया ॥४॥
O All-pervading Raghuraya, sleep, my friend.
I will sacrifice myself for you, doing a protective ritual (kuravandi)
येऊनि वसिष्ठ सत्वर । सागे जन्मांतर ।
राम परब्रहा साचार । सातवा अवतार ॥५॥
Sage Vasishta quickly came and speaking of his divine birth, declared
Rama is truly the Supreme Being, the seventh incarnation.
याग रक्षुनिया अवधारा । मारुनि रजनीचरा ।
जाईल सीतेच्या स्वयंवरा । उद्धरि गौतमदारा ॥६॥
He protected the yagna (sacrifice) and killed the rakshasas (Khara Dushana Tataki).
He went to Sita's Swayamvara and liberated Ahalya (Gautama's wife).
पर्णिले जानकी सुरुपा । भंगुनिया शिवचापा ।
रावण लज्जित महाकोप । नव्हे पण हा सोपा ॥७॥
He married beautiful Janaki (Sita), breaking Shiva's bow.
Ravana was greatly enraged and shamed, realising the difficulty of the condition (for Sita's swayamvara)
सिंधूजलडोही अवलीळा । नामे तरतिल शिळा ।
त्यावरी उतरुनिया दयाळा । नेईल वानरमेळा ॥८॥
By his name, stones floated effortlessly on the ocean's waters.
Crossing upon them, the compassionate one led the army of monkeys.
समूळ मर्दूनि रावण । स्थापिल बिभीषण ।
देव सोडविले संपूर्ण । आनंदले त्रिभुवन ॥९॥
Completely destroying Ravana, he established Vibhishana.
He liberated all the gods, and the three worlds rejoiced.
राम भावाचा भुकेला । भक्ताधीन झाला ।
दास विठ्ठले ऎकिला । पाळणा गाईला ॥१०॥
Rama is hungry for devotion, he becomes subservient to his devotees.
Thus, Vitthala Dasa (the poet) heard this and sang this lullaby.
Foot-note
कुरवंडी (Kuravandi) is a traditional Indian ritual, primarily practiced in Maharashtra and other parts of India, which involves waving certain items around a person or an idol to ward off evil or negative influences, and to bring good fortune.
Here's a breakdown of what it entails:
The Act: It involves a circular motion, often with specific items like:
Lamps (deepa/arati): Waving lamps or an arati (a plate with lit wicks) around an idol or a person is a very common form of kuravandi, especially in religious contexts. This is done to honor the deity/person and to dispel any negative energy.
Rice, salt, turmeric, kumkum: These ingredients are often used, particularly during auspicious occasions like weddings or welcoming a new baby. The belief is that these items absorb any negative energy or "evil eye" directed towards the person, and then they are usually discarded.
Purpose:
To remove malignant influences/evil eye (drishta): This is a primary reason for performing kuravandi. It's believed that others' envy or negative thoughts can cause harm, and this ritual helps to counteract that.
To bestow blessings and good fortune: By cleansing the aura, it's thought to invite positive energy and prosperity.
As a gesture of love and protection: Especially when performed by elders for children, or by a wife for her husband, it's a symbolic act of wishing them well and protecting them.
The Song: Sometimes, as mentioned in the dictionary definition, "kuravandi" can also refer to the song appropriate to this rite. The lullaby you provided is a perfect example, as the line "Tujavar kuravandi karuniya" (performing kuravandi over you) directly refers to this protective ritual for baby Rama.
In essence, kuravandi is a ritual rooted in folk beliefs and cultural practices, intended to safeguard loved ones and bring auspiciousness.
This song is attributed to Purandara Dasa, the father of Carnatic music and a profound saint-poet.
It beautifully critiques performative spirituality and reminds us that sincere devotion—especially through Nama Smarana (chanting the name of the Lord)—is more meaningful than elaborate rituals.
