History

 The Ganapati temple located in Flushing, Queens has been a prominent place of worship for many Hindus in the New York area since its establishment on July 4, 1977. It began with a non-profit religious institution called the Hindu Temple Society of North America that was established in 1970 for purposes of acquiring a Russian Orthodox church to use as a place of Hindu worship. The temple was consecrated seven years later under the direction of Dr. Alagappa Alagappan, a principal founding member of the Hindu Temple Society. It was named the Sri Maha Vallabha Ganapati Devasthanam. In Hinduism it is believed that every endeavor must begin with worshiping Lord Ganesha (also called Ganapati) and this is why this temple, by some calculations the first Hindu temple to be established in North America, has been named after him.

Today, the Ganapati temple is under the leadership of Dr. Uma Mysorekar, who was one of its major figures for several years before assuming the role of president. She has overseen many of the temple’s endeavors to make religious observance an integral component in the life of many Hindu immigrants. Such endeavors include locating artisans to participate in the construction of many other temples, the publication of newsletters, and fund-raising for relief efforts in India. The community to which the Ganapati temple caters is not restricted to its own neighborhood. It is frequently visited by Hindus from as far away as Long Island and New Jersey.

 

The Main House of Worship

When approaching the temple from the corner of Bowne Street and Holly Avenue one will first notice the Sri Balaji grocery store and the Dosa Hut with their bold white lettered awnings. In this suburban neighborhood of modest brick houses, these two stores stand out as the first sign of the presence of an Indian community. As one proceeds up the block, the grey architecture of the temple becomes visible behind tall black gates. The beautiful craftsmanship, which seems to reach into the sky with its intricate designs, easily captures the observer’s attention.

As we enter the gates we find a set of stairs that lead up to the main door, which is flanked on both sides by ornamental elephants. A gilded Ganesha is poised on the left side of the wall, while an idol of the deity rests in flowers atop the right wall. A door off to the side leads one to a staircase that descends into the basement, which contains a large room with a stage; makeshift walls conceal the center of the room. On Saturdays in particular, a glimpse into the spaces between the flimsy walls is apt to reveal a Bharat Natyam dance session, and the sounds of bare feet falling firmly on the ground are coupled with the rhythmic

tapping of a wooden stick. The voice of the dance instructor keeping time follows us as we make our way past a washing area, one of several where worshipers can cleanse themselves before entering the presence of the deities. Soon we enter a small room where coats and shoes are put away. Walking up the stairs we hear several voices wafting down from the main room, and the exotic smell of agarbatti—incense sticks—becomes stronger. The voices we have heard belong to the pundits who officiate in the temple’s ceremonies, and also echo from laypeople murmuring verses in Sanskrit. Once inside the main room, the beautiful architecture that we had seen outside yields to a rich display of sculptures and bas-reliefs. The largest of these depict the dancing Shiva[1] and Krishna teaching the Bhagavad Gita to Arjuna. Another washroom stands in one corner, and nearby there is an area containing coconuts and flowers waiting to be purchased.

Worshipers sit on the red carpeted floor, hands pressed together, their eyes either closed or fixed upon a deity. Several pundits sit to one side waiting to distribute prasadam while others lead prayer services. There are idols on almost every wall, surrounded by flowers, pradeeps[2] and agarbatti. In the middle of the room sits Ganesha within an ornamented enclosure as worshipers bow before him and circle the house in which he rests. TVs suspended from the ceiling monitor the services and also list timings for services on other days of the week. Many of these congregational prayers are specifically devoted to one particular deity, such as Sri Lakshmi or Ganesha. During times when these congregational prayers are not being offered, devotees visit the various deities of the temple on their own, silently reciting verses and sometimes even lying prostrate on the ground. Afterwards, they either join a group singing devotional songs, or sit towards the center of the room in reverent and contemplative silence.

 

Beyond Prayer

The temple also has a patsala (school), which we can find around the left side of the main building. Several classes are taught here, ranging from Sanskrit to classical dance. Tutoring for high school placement exams and the SATs is also available. A short walk around the other side of the temple takes one to the community center. This building is more modern in appearance. Only the ornately carved fountain located near the entrance and the traditionally decorated interior of the building confirm that it belongs to the Indian community.

This center, the kalyana mandapam, is home to many performances, both dance recitals and dramas sponsored by the temple itself and events unrelated to it. The kalyana mandapam is also used as a wedding hall.

The growth of the Ganesha temple as a prominent part of the lives of its devotees can be seen almost week by week.  The many activities and festivities that the temple is home to draw members of the Hindu community to its steps every day. It is a religious community that extends well beyond the temple itself to include an adjoining patsala, a community center, a temple canteen, and lodgings for the priests nearby. It holds activities to promote awareness about Hinduism and offers itself as a place where the community can gather to celebrate significant religious events. It also serves as a haven where one can find refuge from the freneticism of immigrant life in religious worship and cultural commonality.    

 

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