pranava magazine: the art & culture of kirtan in the west
DESCRIPTION
Pranava Magazine is a Quarterly Journal of the Kirtan Movement in the West. Pranava serves as a media publication that chronicles the current & modern renaissance of the ancient practice of devotional chanting, known as Kirtan & Bhajan, & how it’s grown into the cultural phenomenon of the West that it is today. There will be featured Kirtan Wallah interviews in each issue, with supporting articles that highlight their particular tradition. Columnist feature articles that offer education into the deeper implication of chanting mantras & the sacred names of divinity. Pranava Magazine is for the education, empowerment, & inspiration of its readers, in order to maintain a continuity of acknowledged awareness of the roots of Kirtan, & how with sincerity, practitioners can benefit themselves, & humanity through positive transformation & Sacred Union with the Divine through devotional chanting.TRANSCRIPT
Pranava Magazine is a Quarterly Journal of the Kirtan Movement in the West.
Pranava serves as a media publication that chronicles the current & modern renaissance of the ancient practice of devotional chanting, known as Kirtan & Bhajan, & how it’s grown into the cultural phenomenon of the West that it is today.
There will be featured Kirtan Wallah interviews in each issue, with supporting articles that highlight their particular tradition.
Columnist feature articles that offer education into the deeper implication of chanting mantras & the sacred names of divinity.
Pranava Magazine is for the education, empowerment, & inspiration of its readers, in order to maintain a continuity of acknowledged awareness of the roots of Kirtan, & how with sincerity, practitioners can benefit themselves, & humanity through positive transformation & Sacred Union with the Divine through devotional chanting.
Welcome to Pranava MagazineBy J.Yochanan RussellEditor in Chief
“I Am Om, The Word that is God.” ~Bhagavad Gita 7:8
“In the beginning was Prajapati [God the Creator], with Him was the Word, and the Word was truly the Supreme Brahman.” Kathaka Samhita, 12.5
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Table of Contents:
The Glories of Sri Ganesh p.6
Nada-Yoga: The Yoga of Sound p.11
Mantra: The Science of the Word of God-dess p.18
Music as Wisdom p.25
Cover image art: Devi Saraswati Ma, Goddess of the Arts, Music, Knowledge & Wisdom. Artist unknown.
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‘Pranava: The Art & Culture of Kirtan in the West’
Editor in Chief:
J.Yochanan Russell
Senior Columnists:
Maturanath-ji, Vamadeva-ji, Shanti Shivani
Art Director: J.Yochanan
Russell
Advertising, Marketing & Circulation:
Shannon Chambers, J.Yochanan
Russell
Contributing Editor:
Solala Towler
Senior Photographer
Ankush Vimawala
Article Submission Inquiries:
Request our Media Kit for
Ad Submissions:pranamag@gm
ail.com
Pranava Magazine
EditorialPR
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*The definition of Pranava: Pranava is the name of the Primordial All-pervasive Sound Vibration that
culminates as OM/AUM, which is the Word of GOD/Divinity. Pranava is the voice of the life-force in motion.
Pranava is that which impregnates all with Life, & it is that which puts everything into Motion, hence the etymology, Prana= Life-force & Va: the root of Vayu, Vata,
Vaccha (voice).
This is why Every invocation & prayer to the Divine begins & ends with the Pranava seed syllable OM in nearly every tradition: aum, amen, amin.
Pranava Magazine
Editorial NoteBhakti-Yoga is the path of Divine Love, & the devotional sadhana of Kirtan is the means by which we court our Beloved with singing & chanting, who is none other than our very own Inner Divinity that takes whatever form to suit our own idiosyncrasy. What grace! What kindness & mercy of the Absolute! Jai Bhagawan!!
It is with the warm & loving spirit of Bhakti that I welcome you to our first pilot issue of ‘Pranava Magazine: The Art & Culture of Kirtan in the West!’
With Pranava* Magazine, we are embarking on a journey of conscious media that gives voice to the life-force of the ever expanding culture of Kirtan, which is now deeply rooted in the West as a subculture.
Everyone who has the blessed experience of participating in this rich & ancient tradition can feel the palpitating Heart thats been passed to us from the East. Our aim is to honor the deep roots of Kirtan & its various traditions, while highlighting it’s continuity of creative expression here in the U.S.
I truly feel that Jnana-Yoga is a key component upon the path of Bhakti, as it aids in the cultivation of direct experiential knowledge & insight (Gnosis) of the Divine, & therefore placing the mind under the service of the Heart.
In order to initiate Pranava Magazine., we offer an invocation & praise to Sri Ganesh as the first article. In the following articles, we present vital aspects that shape, & are never missing in devotional music: ‘Nada-Yoga: The Yoga of Sound’; ‘Mantra: The Science of God-dess’; & ‘Music as Wisdom’. I hope you enjoy such articles of our pilot issue & find it empowering & enlightening.
For our Spring March/April Issue, we have GuruGanesha as our first featured sacred music artist to grace the front cover as our outstanding first interviewee!
Future issues will follow suit with exclusive interviews of our favorite Kirtan Wallahs, with complimentary articles that delve deeper into the particular tradition they represent, so stay tuned!
May your hearts forever remain ablaze in the bhav of Bhakti as you draw ever nearer unto the One! OM Ganapati OM!!
Yours in Loving-Compassionate-Wisdom,~J.Yochanan Russell
[email protected] Digital magazine available at www.pranavamagazine.com
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NOW AVAILABLE!A WINDOW TO THE FUTURE OF
ECSTATIC DANCE!Soul-stirring dance electronica grooves meets India’s ecstatic chant tradition resulting in a spiritually-charged music fusion that is… KIRTRONICA!Coming in at #12 on the New Age Billboard Charts following its release in July 2013, the Kirtronica album continues to gain momentum in the spiritual dance community, paving the way for the future of ecstatic dance.“Jaya Lakshmi and Ananda take a delightfully refreshing approach to kirtan/ mantra music with their new album Kirtronica and their magnificent live performances. Their music makes you instantly want to sing and dance in joy while still being as heart opening as more traditional kirtan.” ~Guru Ganesha
As a gifted teacher of Bhakti Yoga, Author and a Certified Ayurvedic Lifestyle Counselor, Matura has conducted hundreds of classes, and lead uplifting kirtans in America, England, Australia & India, inspiring others to seek and serve the Conscious Spiritual Reality that is the basis of all world faiths. A preview of Matura's forthcoming book "Absolute Abundance" can be previewed here: www.abundantlives.org
Shanti Shivani is is a singer/nada yogini/sound healer, internationally acclaimed seminar leader and recording artist. She is one of the few Western pioneers bringing the sacred traditions of Nada Yoga and Dhrupad, the most ancient style of Hindustani classical music, to the West. She brings a wealth of vocal, meditative, and movement experience to her classes. She has several albums to her credit and has been recording as a solo artist and in collaboration with many World Music artists since 1993. She currently lives in Eugene, OR. www.shantishivani.com
J ~Yochanan~ Russell is the founder, Editor in Chief & Head Columnist of Pranava Magazine; he is a longtime student & practitioner of Universal Gnostic Dharma, Ayurveda, Cha Dao, Raja-Yoga, Bhakti-Yoga, Vajrayana Tantra, Mahamudra & Dzogchen. As a lover & player of Sacred Music, he participates in the cultivation of Mantric Music/Kirtan for the healing, spiritual development, upliftment & empowerment of humanity.
Contributors
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For Guest Contributor Submissions, please emailJ.Yochanan Russell:
vakratunda mahaakaaya
suryakoti samaprabhaa
nirvighnam kurumedeva
sarvakaaryeshu sarvadaa“Salutations to the supreme Lord
Ganesh, whose curved trunk (vakra-
tunda) and massive body (maha-
kaayaa) shines like a million suns
(surya-koti) and showers his
blessings on everyone (sama-
prabhaa). Oh my Lord of lords
Ganesh (kurume-deva), kindly
remove all obstacles (nir-vighnam),
always (sarva-) and forever
(sarvadaa-) from all my activities
and endeavors (sarva-kaaryeshu)”.
Om Gam Ganapataye Namaha!
It is through the blessings of Sri
Ganesh that the vision of Pranava
Magazine has been actualized &
made manifest, so let us shine a
spotlight on Him & sing His praises!
Jai Sri Ganesha!
Sri Ganesha: The Lord of
Beginnings & Remover of
ObstaclesSri Ganesh is the first beloved son of
Devi Parvati & Mahadeva Shiva,
brother of Kartikeya, & husband of
Buddhipriya. Due to his elephant
head, Ganesh is the most
recognizable deities within the
Hindu pantheon. Sri Ganesh is
designated as the lord-chief (Isha) of
all of Lord Shiva’s ganas (hosts-
servers) – hence his name, Ganesh.
He is also affectionately known as
Ganapati, as He holds the position as
the General of Shiva’s & Kartikeya’s
army (as the name Ganapati means)
& is the gatekeeper of sacred
madirs/temples.
As the Lord of Beginnings, Ganesh is
invoked at the start of every
ceremony to ensure that the way is
cleared, with all obstacles removed.
It is stated that if we want the
affectionate attention of the Divine
Mother, that we must firstly appease
Ganesh. As He holds high favor of all
the other Gods, it is through the
vibration of Ganesha-Bhakti that we
can also attract the favor of them as
well. He receives this power as a
blessing from his parents.
The Art & Culture of Kirtan in the West
THE GLORIES OF SRI GANESHBy J.Yochanan Russell
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Image Courtesy of Ankush Vimawala www.vimawala.com
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It is very vital to understand that all of the attributes & qualities of Sri Ganesh reflect particular aspects of cosmic
consciousness, which are found within our very own psyche. The many Gods & Goddesses that we find in all the sacred
wisdom traditions are all emanations of the Absolute. Sri Ganesh is just one out of many archetypal blueprints of divinity
that lie dormant within the heart-mind of every sentient being.
In the Hindu tradition there are many symbolic representations of divinity, and it would be very easy to become
confused by the different representations of God, but it is very important to remember that all representations of God
(the Absolute) are merely symbolic images, forms that the formless will assume in order to aid his devotees. This will be
highlighted throughout future articles on the deities of Kirtan as we proceed with the publication of Pranava Magazine.
When we talk about Ganesha, Shiva, Krishna, Durga, Lakshmi, or any of the Hindu gods, all of these symbols are
doorways into ourselves, into the deepest regions of our True Nature.
Our True Nature has these levels of manifested and unmanifested nature, which are all discovered within.
Religion means to reunite with Divinity. The purpose of religion is reflected in the origin of that word, religare (Lat.),
which means "to reunite or to bind, to reconnect," and is identical to the Hindu term yoga, which comes from yug,
which means "to unite," and is where we get the word "yoke." Our purpose is not to unite with some image of a God or
to bind ourselves to some doctrinal codes that demand us to behave a certain way in order to be a true follower of such
and such symbol.
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Our true purpose is to be a manifestation of
the unmanifested, to become a Deva or
Devi on Earth. The whole purpose of
Divinity is to make us a reflection of It. That
is why we are alive: to become the divine
incarnate. All who consciously spend time
engaged in any kind of spiritual cultivation
from performing a particular puja,
meditation or during devotional chanting in
kirtan, can attest to moments of when such
a truth is tasted firsthand within.
“Remover of all obstacles,
Pranava Swaroopi,
Embodiment of wisdom,
Devata of Muladhara Chakra!
O Lord Vinayaka,
The bestower of happiness
Who has Modaka in hand!
O Elephant-headed Lord!
Salutations unto Thee.
Om Gam Ganapataye Namaha”.
The Names & Attributes of Sri
Ganesh
Ganesha means "Lord of hosts." This phrase
will sound familiar to you if you’ve studied
Christianity or Judaism, because "lord of
hosts" appears throughout the Bible, which
is no accident.
The Sanskrit name "Lord of hosts" is derived
from:
• gana means "hosts/servers, group,
collection, or categories." It can
also be armies, any large number of
things or people
• Isha means "Master"
Gana+Isha is "Master of hosts."
Another name for him used throughout India
is Ganapati. The name Ganesha is used
mostly in northern Indian traditions, while
Ganapati is used in the south; yet, Ganapati
also means "Lord of hosts."
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Another important name for Ganesha is Vinayaka, and
this name means "without a master." This refers to one
who excels all masters; there is no master higher, in
other words, he is his own master.
In order to comprehend the mysteries of Sri Ganesh, we
must study the elephant itself. As we observe the wild
elephant in the jungles of the world, we discover that
as they roam & feed throughout, they are opening up
space that were previous left in darkness, to receive
more light. We can clearly see that Sri Ganesh is the
remover of obstacles due this exact meaning; not only
should we understand this to mean that Ganesh has the
power to remove certain obstacles that stand in the
way of us accomplishing mundane goals, but also that
He has the power to make room for more light to shine
within the consciousness.
This is why we call upon Sri Ganesh to assist in the
awakening of the consciousness with the prayer of the
Ganesha Gayatri Mantra:
AUM lambodaraaya viddhamahe, mahodaraaya
dhImahi, tanno danti prachodayaath
“We pray to the one with the expandable belly
(lambodarāya) who is omnipresent (viddhamahe). We
meditate upon and pray for greater intellect (dhīmahi)
to the Lord with the huge belly (mahodarāya). We bow
before the one with the single-tusked elephant tooth
(tanno danti) to illuminate our minds with wisdom
(prachodayāt)”.
To have a mind that is illuminated with wisdom, it must
first be prepared thorough purification & made empty,
in order to be receptive. Sri Ganesh grants what Zen
Buddhism calls “Beginners Mind”, which is a mind that
remain always within a state of receptivity. Ganesh is
the Lord of Beginnings for this very reason. For anything
to work in alignment with a vision we hold within, we
can call upon Sri Ganesh to clear the way in order to
initiate manifestation.
Sri Ganesh is also known as the Lord of Speech
(Vaccha), Knowledge (Jnana) & Wisdom (Prajna). It is no
wonder that these attributes are related with Ganesh as
the elephant is well known for its powers of memory, &
sophisticated communication. It is also worthy to note
how the words knowledge & gnosis are both derived
from jnana, which even phonetically sounds like
Ganesha.
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In many of the depictions of Sri Ganesh, we see him
mounted on a mouse, or a rat. This symbolizes a
particular attribute of Ganesh; as he is able to remove
obstacles & create auspicious beginnings, he does so by
way of the rat, who’s special ability is to get within &
traverse every nook & cranny. These very nooks &
crannies are those within the heart-mind.
The more we approach Sri Ganesha with sincere hearts
blazing with Bhakti, the more He grants the boon of
Gnosis, which is the direct inner experience of divinity.
As the source of all wisdom, knowledge & intelligence
Ganesha represents is not only secular book knowledge,
but more importantly knowledge which is spiritually
inspired.
Another name of Sri Ganesh is Ekadanta, which means
"one tusked."
There are many stories in the Puranas about his tusks.
In the earliest myths, Ganesh has a single tusk, and this
is symbolically represented in many different ways. It is
stated that in the act of generosity that he offered his
tusk as a pen in order to transcribe the Vedas. Some
sources say that it was the Sage Vyasa that asked Sri
Ganesh to transcribe a poem he wanted to have written
down. Ganesh agreed on the terms that Vyasa would
recite it in one breath & in the middle of transcribing
the pen broke, so as to stay in time & flow with Vyasa,
he quickly broke off one of his tusks & continues to
transcribe.
Ekadanta has the suffix danta, from dantin, from the
root dru- darshayati: "to show"; he has a symbolic single
tusk because he is the one who shows the path, who
shows the single way to the Absolute, and that is
Ganesha’s role: to clear obstacles within & to show the
path that leads to our true home.
That relates to another one of his names, Vakratunda,
which means "he who straightens out the crooked."
Many Hindus think that this all relates to earthly life,
such as if you’re going to take a trip or you need to
have success in your business or marriage, then you ask
Ganesha to bless your marriage or business. That is
great, but the real purpose of the symbol of Sri Ganesh
is related to spirituality. It is "He who straightens the
crooked", it is he who straightens us, because we are
crooked with pride, lust, anger, & many other kleshas
(afflictive emotions), so with his single tusk he points
out the way towards the One.
Sri Ganesh is also represented as the bringer of wealth
and prosperity; many people worship Ganesh because
they want financial prosperity; this is an unskillful
approach. Many Hindus (now western Hindu aspirants)
call upon Ganesh because they want success in business
or power in the world. When we perform the sadhana of
Sri Ganesh regularly, we naturally begin to embody the
spirit of selflessness & renunciation, & we come to
realize that the only wealth & prosperity that has any
merit are the riches of the spirit that are reaped in the
consciousness. If any financial abundance comes along
the way, then it is used to further support dharmic
ventures that will benefit humanity for many
generations to come.
Swami Sivananda said:
"Lord Ganesha represents Om or the Pranava,
which is the chief Mantra among the Hindus.
Nothing can be done without uttering it. This
explains the practice of invoking Ganesha
before beginning any rite or undertaking any
project. His two feet represent the power of
knowledge and the power of action. The
elephant head is significant in that it is the only
figure in nature that has the form of the symbol
for Om."
Let us forever recall the glories of Sri Ganesh & chant
his name with loving devotion, & may he bless our every
endeavor from within!
Ganesha Sharanam-Sharanam Ganesha!
Om Ganapati Om!!!
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Nada-Yoga: The Yoga of SoundNada Yoga, the yoga of sound, is an
ancient spiritual practice that is part
of Raja Yoga and ayurveda, the
science of life. Nada Yoga means
un ion ( yoga ) w i th the nada
or nadam, the primordial sound
which is the primal, omnipresent,
omnipotent vibration of the jagat
(the universe in sanskrit) that has no
beginning nor end. In the Rg Veda,
the oldest text of the 4,000 year old
vedic scriptures of India, sound is
called nada (sound in skt.) brahma
(the Hindu God of creation), which
means the sound of God. It is the
sound of silence, the sound of the
void, and it is perceived by the yogi
who contemplates the unborn, the
unstruck sound, the anahata nada,
or by the householder practitioner
whose mastery of the outer sound
through music, dance or theater
combined with deep devotion leads
to hearing the unstruck, inner
sound.
The Hatha Yoga Pradipika IV, 1 says:
NAMAH SHIVAYA GURAVE NADA-
BINDU-KALATMANE
NIRANJANA-PADAM YATI NITAM
YATRA PARAYANAH.
"Salutations to the nadam, which
is the inner guide and the inner
life, the dispenser of happiness to
all! It is the inner guru, appearing
as nada, bindu and kala. One who
is devoted to the inner guru,
the nada, the inner music, obtains
the highest bliss.
The Gospel According to Saint
John 1:1 says:
"In the beginning was the Word.
And the Word was with God,
and God was the Word."
The great Sufi teacher, Hazrat
Inayat Khan, said: "Creation is
the music of God." In other
words, the world arises out of
the music of God, that resounds
and manifests itself in all of
nature. Pythagoras called it the
"music of the spheres.” In all
mystical traditions sound plays a
vital role, as it is the bridge
between the lower and higher
worlds, the unconscious and the
conscious, the form and the
formless.
There are many forms of Nada Yoga
in India. The two main streams are
the path of the renunciant, one who
has renounced the world, and the
path of the householder. Within
these two main streams there are
many different lineages with
different practices. A very important
householder lineage is that of the
singer, instrumentalist, drummer,
dancer and poet. The ultimate goal
is the same: Self-realization through
the unstruck inner sound, through
which the individual consciousness
merges with the I AM consciousness.
We experience our true Self, we
experience union with the Absolute I
AM.
The renunciant nada yogi meditates
on the inner sound current, thus
traveling into the more subtle
realms of his being by focusing on
the increasingly subtle sounds until
merging with the unstruck sound,
the anahata nada, thus connecting
more and more deeply with the true
Self, Brahman or God. The
householder who lives in the world
focuses on singing or playing the
outer pure sound on an instrument
to connect with the inner sound
current. The anahata nada is
connected to the anahata chakra,
which is the heart chakra. The lotus
of the heart is the seat of Brahman,
our true nature. This would explain
why devotion is so crucial to being
able to connect and merge with the
anahata nada.
Because I have been a householder
practitioner of the Dagar lineage of
Dhrupad music since 1981 and I like
to talk from experience, I will
mainly be speaking about the nada
yoga of our lineage. But let me first
give you an introduction to Dhrupad,
which is little known in the West.
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"Salutations to the nadam, which is the inner guide and the inner life, the dispenser of happiness to all! It is the inner guru, appearing as nada, bindu and kala. One who is devoted to the inner guru, the nada, the inner music, obtains the highest bliss.”
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The modern form of Dhrupad is said
to have emerged out of the
prabandha style of the 12th to 14th
century. Dhrupad was originally only
sung or played on the veena by
Hindu Swamis. It was and still is an
act of worship during which the
priest or musician communes with
Brahman or God and invokes the
rasa (essence, flavor) of the raga
(musical mode). The intention is to
put the listener into a state of
contemplation and inner peace.
During the 12th and 14th centuries
the language of the compositions
changed from Sanskrit to Brijbhasa,
the language of Braj, the area
around Vrindavan. About six
centuries ago Dhrupad came under
the patronage of the royal Moghul
courts, where it was adapted for
performance, thus evolving into a
refined and sophisticated art form.
The compositions became more
secular though and were often
praises of the emperors, whereas
before they had been solely
devotional and philosophical in
nature. Dhrupad reached its peak in
the 16th century during the time of
the legendary court musician of the
Emperor Akbar, Tansen, and Swami
Haridas who is said to have been the
guru of Tansen. Swami Haridas was a
Dhrupad singing saint who lived as a
hermit in the forest near Vrindavan.
The most important schools of
Dhrupad are the Dagar and
Vishnupurbanis or lineages. To this
day a Dhrupad recital is not seen as
a performance. It is a communion
with Brahman or God in his or her
many aspects in which the listeners
take part. I had the great fortune to
have been accepted as a parampara
student of the lineage of the late
Ustad Zia Mohiuddin Dagar and his
younger brother, the late Ustad Zia
Fariduddin Dagar but I received most
of my training from Pandit Ritwik
Sanyal, one of the main disciples of
both of the above-mentioned
Ustads, with whom I started studying
in Benares, India in December of
1981.
I will never forget the first time I
heard Dhrupad vocal music. It was
Mahashivaratri, the "Night of Lord
Shiva", during the February new
moon of 1981. This is the most
important time to worship Lord
Shiva, and I was living in the worldly
abode of Lord Shiva in Benares or
Varanasi, India. I was studying sitar
and classical vocal music with Pandit
Ramakant Mishra, in whose family
house I lived. The annual Dhrupad
mela was taking place in a big tent
on Tulsi Ghat for 3 days and nights
and all of my friends were
attending. I had never even heard
about Dhrupad music, but found
myself totally transported listening
to two Dhrupad singers in
jugalbandhi (duet) an older man, Zia
Fariduddin Dagar and his younger
disciple, Ritwik Sanyal.
I had grown up with classical
Western music, but this music took
me to a whole other dimension that
I had not experienced before. The
intricate embellishments consisting
of subtle sliding from one note to
another, the oscillations on one note
creating the finest microtones, the
powerful pulling from very deep
notes, the interweaving of the
notes, the entire unfolding of the
raga that lasted more than one hour
created such a deep mood that it
was truly a spiritual
experience. While going on this
mystical, musical journey with themI
was overcome by the realization
that this was the music I had always
be looking for and that these two
men, the elder and the younger,
were my teachers.That evening I
found out that the younger singer,
Ritwik Sanyal, was teaching classical
vocal music at Benares Hindu
University and teaching Dhrupad
privately. I met one of his students
that evening and asked to be
introduced to him but she declined,
saying that he would not accept me
as a student if I didn't
commit to a minimum of 5 years of
study. But Dhrupad was my destiny,
and so it was that 9 months later the
same student agreed to make an
appointment for me with Ritwik
Sanyal for an audition, because she
realized that I was very committed
to studying Indian Classical music.
Since our first meeting I had been
studying khayal style of singing with
one of the greatest devotional
musicians of Benares, the big-
hearted Bhole Nath Mishra. I had
gotten my first taste of kirtan
(devotional singing) in 1977, while
living with my first spiritual guru,
Bengali Baba, a Shaivite sadhu, at
the Hanuman Bhowri in Pushkar,
Rajastan. We would sing every night
around the dhuni (holy fire pit) with
the villagers and those evenings
were quite ecstatic with my
boyfriend playing guitar to the
chants. Bhole Nath Mishra, who was
a true devotee of Lord Shiva,
rekindled that devotional passion in
me, which is crucial if you are to
sing with total surrender. And as I
would find out much, much later,
singing ragas demands that you
become an empty vessel for
Brahman or the I-Am consciousness
to sing through you.
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I will also never forget how profoundly I was affected by
my first meeting with Ustad Zia Mohiuddin Dagar, the
greatest rudra veena player of Northern India. I met
Ustad (Master in urdu) for the first time in 1982 at the
Dhrupad mela (festival) in Ambejogai in Maharastra, a
small village with a college in the middle of the desert.
It was the first Dhrupad mela dedicated to women in
Dhrupad. Nancy Lesh (the now well-known Dhrupad
cellist Nancy Kulkarni) and I were accompanying our
guru, Ritwik Sanyal, to the mela and we were to meet
"Bare Ustad", for the first time. Being in Ustad's
presence touched me to the core and I felt an
incredible reverence for him as a human being and an
artist. I believe it was also at this particular Dhrupad
mela that Ustad's performance on the rudra veena
catapulted me out of my body into the cosmos. At the
end of this quite amazing mela, when Nancy and I were
sitting in the back of a rickety, old bus, leaving
Ambejogai, my thoughts were with "Bare Ustad" and I
felt extremely sad that I only got to spend a short
period of time with him. In the middle of my sadness
Ustad appeared before my inner eye and jumped into
my heart. I was overcome with joy, almost ecstasy, and I
knew he would be sitting in my heart forever.
In India, vocal music is considered the highest form of
music, as the voice possesses the magnetism that the
instruments lack. The body itself becomes the
instrument when we sing. The tambura or tanpura, the
drone instrument, rich in harmonics, that the Dhrupad
singer accompanies himself with, is built according to
the proportions of the human body. When carefully
tuned, all of the shrutis or microtones can be heard.
The tambura not only provides the tonic note or "Sa" of
the middle and lower octave as well as the lower fifth
as a point of reference, but also puts everyone hearing
it into a state of relaxation, even contemplation,
because it balances the left and right brain
hemispheres.
(Continued on page 14)
‘The ultimate goal is the same: Self-realization through the unstruck inner sound, through which the individual consciousness merges with the I AM consciousness. We experience our true Self, we experience union with the Absolute I AM.’
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(Continued from page 12)
I might note, that medieval Western
music and the church-modes of
Gregorian chants which preceded
the even-tempered scales of
Western classical music had the
same relationship to the tonic.) The
tambura also regulates the inner
rhythms of the player and the
listener. This is why it is so
important to tune it correctly and
to play it with a constant rhythm.
As we tune the tambura, we also
tune our bodies through posture,
breath and specific vocal
techniques. These practices anchor
the voice in the perineum within the
help of the breath and allow us to
sing all the notes, from the the
lowest to the highest notes with the
entire body. Singing in this way
vibrates every cell of the body, thus
attuning our physical and subtle
bodies. The nada yoga of the
Dhrupad tradition is considered to
be kriya yoga (purification yoga). We
purify our physical, emotional and
mental bodies through singing the
pure sound and align them with our
spiritual body. Through speaking or
singing we manifest ourselves in the
world and are thereby able to be in
the world but not of the world. The
nada yoga practices of Dhrupad are
also of great therapeutic value.
When one begins this practice as an
adult, the first thing one
experiences besides a state of
relaxation is that repressed
emotions arise. The emotional
healing is very deep, especially
when doing the early morning kharaj
(lower octave) practice, which
consists of singing the lower octave
of your personal fundamental note
before sunrise for approx. 45 min. I
will talk about my personal
experience with this practice below.
The first few years as a student of
Dhrupad, I was always searching for
a nada yogi to initiate me into nada
yoga as I did not know that singing
the pure sound could connect me
with the inner sound current. That is
until I started hearing various forms
of the inner sound current after
several years of devoting myself to
doing many different forms of vocal
practices, learning compositions in
various ragas and singing alap, the
slow evolution of the raga in call-
and-response style with Ritwik
Sanyal.
The first inner sound that I
perceived on a regular basis was like
the sound that crickets make. Later
it turned into a humming sound like
the sound of bees that has pretty
much stayed with me. Much later I
had the one-time blessing of hearing
the sound of the celestial flute. I
don't know how it happened nor
what brought it on. All I can say is
that it was Grace. I suddenly heard
one long-drawn high-pitched note, a
note of such exquisite beauty and
divine vibration that I found myself
in the deepest state of bliss that I
have ever experienced.
For me, the most powerful practice
was the kharaj practice of singing
the lower octave down to the low
"Sa" or "do" (in my case lower octave
G) one hour before sunrise. Like
many meditation practices this
practice is done while it is dark,
because the pineal gland, which is
responsible for heightened
awareness, is awake when it is dark.
When the day breaks the pineal
gland goes to sleep. When doing
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regulates the inner rhythms of the player and the listener. This is why it is so important to tune it correctly and to play it with a constant rhythm. As we tune the tambura, we also tune our bodies through posture, breath and specific vocal techniques.”
pranava 14
But years later the kharaj practice took me to
a whole other level. It was the summer of
1989 and I had not been able to go to India for
4 years as I had given birth to my daughter,
Tara, in Germany and couldn't find the time to
do my early morning kharaj practice as a
single mother. So my first opportunity to study
Dhrupad again was in the South of France at
Sheela Raj's Centre Chakra. She had organized
the first 10-day Dhrupad retreat of several to
follow. This first one was with Ustad
Fahimuddin Dagar, a cousin of my two Ustads
who was a master Dhrupad singer and nada
yogi. Fahimuddin Dagar's father, the late Ustad
Rahimuddin Dagar, had dedicated himself to
the in-depth study and practice of nada yoga.
He had taught body movements to open up the
breath and body to the subtle powers of sound
to his son, and Fahimuddin passed them on to
us during this retreat. I had already
experienced the profound relationship
between movement and sound in the course of
interpreting and assisting Fréderic Leboyer,
the father of the "birth without violence"
movement during his seminars. Leboyer taught
a series of movements distilled from his
lifelong hatha yoga and tai chi practice which
had produced an incredible opening of my
voice. Lo and behold, the movements that
Fahimuddin Dagar taught us were almost
exactly the same.
So there I was, ecstatic to have the
opportunity to focus on my beloved Dhrupad
music again for 10 days, starting with the
kharaj practice in the morning, one hour
before sunrise. I was very happy when I
realized that nothing had been lost and I was
able to almost reach the low "Sa" (lower
octave G), but then one morning the
unexpected happened. I sang the low "Sa" with
ease for the first time and suddenly exploded
into white Light inside and out. This was an
incredibly cosmic moment that seemed like an
eternity as this kind of experience transcends
time and space. Bathing in the white Light
feels like a complete purification of all of your
bodies and past karma. Once you come out of
this state, you feel totally reborn and as if the
past has been dropped.
I had had this experience of being one with
the Light once before in McCloud Ganj, H.P.,
in 1979 while falling asleep. I was in a deep
state of depression because I was missing my
new partner who I had left behind in Germany.
As I was falling asleep I found myself
plummeting down a dark tunnel, but instead
of hitting the bottom and waking up I
exploded into white Light. The next day I felt
as if I had been reborn and instead of dwelling
in the past and being depressed, I focused on
being in the present moment. I attributed this
experience to the grace of a tantric yogi, the
rainmaker of H.H. The Dalai Lama, Nagpa
Yeshe, who I would meet on my walks in
McCloud Ganj. He had the most heart-opening,
happy smile I had ever seen and I was always
filled with joy after crossing paths with him.
Much later I realized that I had to have this
life-changing experience because I was meant
to let go of my life and relationship in
Germany and start walking on the path of the
nada yogini. Only when it happened I didn't
know that that was what it was all about.
Literally two days later, I met my tabla
teacher-to-be "by chance" because my friends
wanted to sit in on a tabla lesson and I
decided to join them. And this was the
beginning of my journey into the nada. More
about that in the next issue of Pranava.
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Shanti Shivani is is a singer/nada yogini/sound healer, internationally acclaimed seminar leader and recording artist. She is one of the few Western pioneers bringing the sacred traditions of Nada Yoga and Dhrupad, the most ancient style of Hindustani classical music, to the West. She brings a wealth of vocal, meditative, and movement experience to her classes.
She has several albums to her credit and has been recording as a solo artist and in collaboration with many World Music artists since 1993. She currently lives in Eugene, OR. www.shantishivani.com
pranava 15
Mantra: The Science of The Divine Word of God-dessBy J.Yochanan Russell
Mantra: The Science of The Divine Word of God-dessBy J.Yochanan Russell
The Meaning of Mantra
Nowadays, the term ‘mantra’ can be heard
almost anywhere from the streets to the
mainstream media & oftentimes without the
any real definition emphasized. If one were to
ask any common person what does the word
‘mantra’ mean, more than likely the answer
would be either some strange foreign word or
phrase that’s repeated as a prayer or spell of
some type...?
It is also very common in our modern era for
people to join spiritual groups or movements &
then take on new names given to them by
their leaders; usually these are mantric
names, or names of certain divinities, etc.
Depending on the tradition, such names are
rarely unveiled in their deeper meaning &
application, & more often than not, such
individuals end up creating for themselves a
false personality, or a ‘spiritual ego’.
For ages, mantras have been used to inspire
personal development, & oftentimes used as
aspirations to generate abundance, prosperity
& material gain.
In this article we are going to delve a little
deeper into the meaning & application of
Mantra-Yoga, revealing some of the original
practices that have been held within the
sacred traditions of spirituality around the
world.
The Science of Mantra-Yoga is the essentially
the science of breath, vibration, sound &
light.
A deeper meaning for mantra that’s generally
used for conventional purposes is: ‘mantra is a
sound or word generally used to help focus the
mind on a single thought until thoughtless
Beingness is established. As a tool to achieve
stillness, the mantra is to be discarded at the
moment stillness is achieved.’
The word Mantra is related to manas (the
mind); yoga means to unite with our origin.
Mantra -Yoga would then mean to unite using
the tool of mantra.’ This tool is the tool of
transformation.
“There are 3 primary purposes that Mantra serve in Mantra-Yoga: Purification, Illumination,
Mantra: The Science of The Divine Word of God-dess
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The Art & Culture of Kirtan in the West
pranava 16
Google defines mantra as:
“A mantra is a sound,
syllable, word, or group of
words that is considered
capable of "creating
transformation" (spiritual
transformation). Its use and
type varies according to the
school and philosophy
associated with the
mantra.” This at least hints
at the subtle & profound
power that mantra
possesses.
The Word mantra itself, like
many Sanskrit terms, is a
compound word, & has a
variety of meanings depending on its
context; it could mean, ‘an
instrument, or tool that transforms/
protects the mind’. The prefix Man
means ‘the mind of the spirit’
Manas,& the suffix
‘Tra’:‘transformative/protective
principle’.
There are 3 primary purposes that
mantra serve in Mantra-Yoga:
1. Purification
2. Illumination
3. Perfection
There are mantras that Purify,
mantras that Illuminate the
Consciousness & mantras that
Perfect, therefore providing the
ground for Self-Realization.
Mantra in Ayurveda
In Ayurveda, & in the East in
general, the ‘Mind’ is more than just
a function of the brain. Usually
when a person of the East speaks
of the mind, they place their
hands upon the Center of the
Heart, in order to suggest that
the mind does not exist only in
the head & moreover, that the
mind itself is formless & cannot
be found anywhere in the body or
within one particular organ.
Even though this term originates
from the East, its implications &
practices are universal.
Within every spiritual tradition,
mantras are repeated as Japa, sung
as Hymns, recited as prayers or
conjurations, & chanted as Kirtans,
Gospels or Bhajans.
The sound of our very heart beat,
along with our breath, is a rhythmic
mantra that’s being resounded for
the duration of our lives.
In studying the Tattvas (the
vibrational signatures of the 5
Elements), we find that sound is
etheric in nature. ether, or akasha,
is the first condensation of the
absolute that emanates out of the
initial vibration of the Nada-Bindu,
or the Spanda; as sound & ether
crystallize & becomes more dense, it
changes it vibration to create the
other four Elements, (Air, Fire,
Water & Earth).
The Science of Mantra-Yoga is first &
foremost a tool/component of
Esoteric Psychology.
We could probably safely say that
Mantra-Yoga was the first effective
tool of psychology itself.
One of the principle healing methods
of Ayurveda is Sound-Vibrational
Therapy which utilizes Mantra-Yoga
to balance out each Dosha
constitution.
“One of the principle methods of Ayurveda is Sound-Vibrational Therapy which utilizes Mantra-Yoga to balance out each Dosha constitution.”
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Light, Sound, the Great Breath & the Living Word
Everything within our perceptible & non-perceptible universe is permeated by
reverberating mantra. Every single particle of matter vibrates at a certain
frequency that in turn produces sound. It is known by esoteric science &
mainstream science alike, that movement within the ether is what produces
sound. The ether is the 1st Tattva that vibrates within the Absolute in order to
produce space. There are 5 Tattvas (Akasha, Vayu, Tejas, Apas & Prithvi), they are
all vibrations of the Absolute, & each one has its own Keynote sound, or sound
signature.
The ancient scriptures of India & the Bible both state very clearly that God is the
Verb of Light, the Logos, the Word, which is the beginning & source of all creation.
“In the beginning was Prajapati [God the Creator], with Him was the Word,
and the Word was truly the Supreme Brahman.” Kathaka Samhita, 12.5
“In the Beginning was the Word, & the Word was with God & the Word was
God...” the Gospel of St. John
It was Sri Krishna who stated to Arjuna in His most beloved song; “I Am Om, The
Word that is God.” ~Bhagavad Gita 7:8
So naturally the questions arise: What is God & what is the Word that these
scriptures speak of?
The term God is best understood when broken down as an acronym & the best one
that I’ve heard was coined by Yogi Bhajan, who was a Mater of Kundalini Yoga in
the Sikh Tradition; he taught that GOD is an acronym for the Generator, Originator
& Destroyer.
Out of any general definition of God, this describes it best. Rather than some idea
of an Anthropomorphic or Monotheistic Deity, it defines God as being Principles,
Forces, & this is exactly how most Esoteric Traditions view God.
So if God is the Generator, Originator & Destroyer, then what is the Word? The
exact same Tri-unity of Principles/Forces.
In the Gnostic Teachings, these Three Primary Forces are what makes up the First
Logos, the Second Logos & the Third Logos.
In order for us to understand this term Logos, we need to understand the term
Psychology & vise-versa.
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“The Science of Mantra-Yoga is first & foremost a tool/component of Esoteric Psychology.
We could probably safely say that Mantra-Yoga was the first effective tool of Psychology itself.”
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God Creates with the Word; how do we create? With sex. It is the sexual force within us
that carries the Word of God.
Deity-Yoga
The Mystery of Mantra-Yoga is that we can create with our sexual potency with Mantra
when applied in the Initiatic context.
The culmination of Mantra-Yoga is Deity-Yoga.
Every tradition that utilizes Mantra in their Initiatic levels culminates ultimately in
Deity-Yoga. Deity-Yoga is well known in the East & not so much here in the West (yet).
It is an ancient system of spirituality that has yet to be fully realized by those who call
themselves ‘spiritual’ today. We mainly find this type of yoga in Indian spirituality & in
Buddhism. Upon deeper investigation, we find Deity-Yoga in nearly all of the Mystical
Traditions, including Christianity... so what is Deity-Yoga?
Deities are most commonly depicted as Gods & Goddesses who are immortal, Divine &
Powerful. They have their own particular abiding places in the Heavens & are held in
high regard.
Shiva, Tara, Chenrizig, Vishnu, Jehovah, Wankan-Tanka, etc. are some of the names of
Deities around the World.
It is understood & taught in Deity-Yoga that these Divinities are Archetypal Principles of
our very own psyche. So in Deity-Yoga, not only is Puja (worship) a vital component of
Sadhana (practice), but also in Realizing & Actualizing these archetypes within.
Every Deity has its Mantra, & it is through the Mantra that we not only invoke the Deity
with its attributes, but we also Unite with & embody the Deity as well. This is done
through Visualization, Meditation, Mantra-Japa & Maithuna (Sexual Alchemy).
“The culmination of Mantra-Yoga is Deity-Yoga.
Every tradition that utilizes Mantra in their Initiatic levels culminates ultimately in Deity-Yoga.”
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Windhorse: Spirit of TibetTibetan Kirtan by Solala Towler
A magical blend of recordings made in the sacred city of Lhasa and the Tibet-inspired music of Solala. !e haunting sounds of the monks and nuns of the Jhokang Temple are joined with "ute, throat singing, tabla and
other instruments and vocal chant by Solala and friends, including Shanti Shivani and
Ankush Vimawala
To hear samples or to download this and other sacred music cds by Solala go to:
www.abodetao.com
Deity-Yoga is a deep & profound science of the ancient world that modern
quantum & astro physicists are beginning to catch up with.
Within this science it is taught the the subtle nervous system (the Nadis &
Chakras) are actually the condensed crystallization of light & sound within us; the
actual channels that flow with prana are etheric; our vital bodies are the
expression of light & sound.
Deities are composed of light, sound, emptiness, bliss, & the secret of Mantra &
Deity is so are you (us all), we just utilize these energies in an inverted manner in
order to create false personality & ego.
The Seven Chakras & their Seed Syllables:
Within our subtle anatomy we have 7 main energy vortices called chakras (chakra
is a term that means ‘wheel’ or ‘circular disc’; in fact it’s where the words
‘church’ & ‘circle’ comes from), they are junction points of energy where the
nadis meet & branch out. These are the storehouses of pranic energy & of our
subconscious impressions that act like memory banks/hard-drives.
There’s a common misconception that our chakras are inactive & need to be
‘opened’ ‘activated’ or ‘balanced’, when in-fact, they are indeed open &
activated.
The chakras spin, much like the disc of a hard-drive, & in the general populace
(non-initiates) they are spinning in the counter-clockwise direction. Once
empowered through certain Initiatic methods, they spin in the clockwise
direction.
What we are concerned with is the direction of which they are spinning.
Each chakra has its seed (Bija) Syllable & also it’s corresponding Mantra/Vowel
Sound:
Muladhara: Lam; SSSSSS Swadistana: Vam; MMMMM Manipura: Ram; UUUU
Anahata: Yam; OOOHHH Vissudha: Ham; EEEHHH Ajna: Om: IIIIIIIiiii
Sahasara: Aum; IIIIIiiiii
Its commonly misunderstood that if you chant the seed syllables of the chakras
that this how they’re activated; this takes place upon chanting their vowels.
The seed syllables are their vibratory signature that are related to their
corresponding deities, & once activated & spinning in the proper direction, they
resound with their particular bija-syllables.
Hari Om Ki-Jai!!!
“The chakras spin, much like the disc of a hard-drive, & in the general populace (non-initiates) they are spinning in the counter-clockwise direction. Once empowered through certain Initiatic methods, they spin in the clockwise direction.”
John ~Yochanan~ Russell is the founder, Editor in Chief & Head Columnist of Pranava Magazine,; he is a longtime student & practitioner of Universal Gnostic Dharma, Ayurveda, Cha Dao, Raja-Yoga, Bhakti-Yoga, Vajrayana Tantra, Mahamudra & Dzogchen. As a lover & player of Sacred Music, John participates in the cultivation of Mantric Music/Kirtan for the healing, spiritual development, upliftment & empowerment of humanity.
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Music as WisdomMusic is ultimately a path of inner
transformation. When the ego of
self-importance is transcended by
the performer- then pure creative
expression can be realized as a type
of divine revelation.
Consciousness and sound coupled
with intention and attention can
produce marvelous effects. Sound
can heal or harm, and as Dr. Emoto
has recently demonstrated, the
molecular structure of matter is
altered by sound vibration and
intention. If you pray over your food
it alters the molecular structure of
your meal.
Sound imbued with conscious
substance becomes Mantra…
empowered sound. Sound colors the
mind and emotions and this subtle
science deals with Raga, or “that
which colors the mind” and Rasa,
spiritual emotional experiences.
The science of Raga and Rasa was
originally revealed through the
ancient yogic Rishis of India and has
come down to us through the
disciple successions of yogic and
musical lineages.
Raga in Sanskrit literally means
"color" or "mood" and refers to
melodic modes used in Indian
classical music. It is a series of five
or more musical notes upon which a
melody is made. In the Indian
musical tradition, ragas are
associated with different times of
the day, or with changing seasons.
Indian classical music is always set in
a raga. Non-classical music such as
popular Indian film songs or ghazals
sometimes use ragas in their
compositions.
The first recorded description of
raga appears in the Brihaddeshi of
Matanga in the 7th century where
it is described as "a combination
of tones which, with beautiful
illuminating graces, pleases the
people in general”.
Many Hindustani North Indian ragas
are prescribed for the particular
time of a day or a season, and when
performed at the suggested time,
the raga produces an emotional
effect in the receptive listener.
During the monsoon, for example,
many of the Malhar group of ragas,
which are associated with the
monsoon and are ascribed the
magical power to bring rain are
performed. There are legends of
mystic musicians who could evoke
fire, rain, thunder and other effects
through the power of their ragas.
North Indian music has its remote
origin in the Sama Veda, a literature
of great antiquity, and the Vedas are
rife with stories of Brahmin priests
invoking the sacrificial fires with
mantric sound vibration alone.
Masters of the Dhanur Veda
employed mantric armor as well as
weapons anointed with potent
sound, which could produce water,
fire and nuclear combustion.
The Samaveda means sāman
"melody" and veda "knowledge" and
is second of the four Vedas, the
ancient core Hindu scriptures and
ranks next in sanctity and liturgical
importance to the Rigveda, which
has been accurately dated at over
10,000 years old.
The Sama Veda consists of a
collection of hymns called samhitas
and various verses, most of which
have their origin in the Rigveda. The
original Sanskrit verses were sung,
using specifically indicated melodies
called Samagana, by the Brahmin
priests at sacrifices in which the
juice of the Soma plant, clarified
and mixed with milk and other
ingredients, is offered in libation to
the various deities who’s qualities
and natures also reflect archetypal
universal powers.
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“Veda literally means "Know this". It is axiomatic and autocratic truth. It needs no other support than its own self -illuminating nature for it is not experienced through experimental or empiric methods.”
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Socrates said that “all knowledge is but a
remembrance” and if he was right, then wisdom is
eternal and is drawn down from the eternal reality of
consciousness into this plane through the power of
austerity and purity, with sound vibration as its medium.
This is also the opinion of the Vedic Rishis.
Prior to 5,000 years ago, there existed in India, an
advanced civilization of conscious spiritual culture that
placed more emphasis upon inner character
development and the individual raising of consciousness
towards a state of intuitive and ecstatic harmony with
universal principles. This is, of course, the Indian Yogic
culture. Yoga means "Union", so it was an advanced
society of inner development meant to foster a
conscious integration of the individual consciousness
with Universal Truth, producing a state of dynamic,
graceful living. The world is still in awe of the Indian
contribution to all branches of knowledge, medicine and
the arts, and all cultures throughout the world have
drawn from this original font of Vedic wisdom.
Persons of inner purity, insight and spiritual depth were
honored above all others in the society of Varn Ashrama
Dharma. They lived without concern for material
objects as all levels of society contributed to their
maintenance and received the benefit of their purity
and insight. They were known as the Tattva-
Rishis....Seers of the Truth, and many were master
musicians and yogis. They were advanced psychic and
spiritual research scientists, potent with deep
experience.
Civilizations rise and fall...flourish and produce cultural
fruits in the form of insights, philosophies, material
technologies and arts...passing them forward to other
flourishing societies while they themselves pass away
from prominence. The Vedic literatures describe many
fascinating technological advancements such as air
ships, the measurements of cosmic and atomic time, the
categorizing of all the subtle and gross material
elements, medical scientific procedures, advanced
psychology and spirituality, sexuality, astronomy, martial
arts, dramatic, musical and visual arts and sculpture
that is unprecedented in the history of the world.
All of these have existed before....will pass away.... and
again be manifest in the future. Everything moves in a
circle, even the manifestation of knowledge and
technology.
Much of the wisdom and artistic ideals we have today
were borrowed from the prior cultures of India, Egypt,
Greece and China...India's deep spirituality,
mathematics and wisdom came to the West via
Pythagoras, Plato and Socrates...for it is a documented
fact that they had Indian Gurus. There is also a large
body of documented scientific and archeological
evidence that suggests Jesus Christ also traveled
throughout India and studied Her various schools of
philosophy.
The Rishi's advanced states of spiritual consciousness
endowed them with unusual insight and subtle powers
and as a result they revealed many universal truths and
gave us the largest and most profound body of wisdom
known to man...the Veda. Veda literally means "Know
this". It is axiomatic and autocratic truth. It needs no
other support than its own self -illuminating nature for
it is not experienced through experimental or empiric
methods. Nor is its wisdom the fruit of experience
gathered from this world but rather it is self-
illuminating wisdom that is manifest upon the fertile
plane of the conscious heart of the purely realized. It
descends from the higher planes of eternal conscious
substance to this plane via these intuitive saints or
Rishis. The Rishis are not searching dull material
objective manifestations for answers, but rather are
shining a higher super-conscious subjective light upon
the material objective plane. Their clean hearts, like
open windows to the infinite, allowed the entrance of
higher knowledge. This is superior science of a conscious
nature. Matter is a product of consciousness. The world
is in the mind. So, to understand consciousness is to also
understand matter by default. By standing in the light,
darkness is also understood. The Veda, in it's purity, is
the ever existing conscious reality that exists prior to
material creation. It's truths are independent of
mundane material reference and transformation and it's
rays of conscious light reveal, illumine and explain all
manifestations both mundane and divine.
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pranava 22
Dharmasya tattvam nihitam guhayam...the Vedic
wisdom is made manifest through the dharmic hearts
of the saintly-in every age- as necessity dictates.
Wisdom is not the provincial property of this world
culture or that.
The plurality of religious conceptions and attendant
traditions in this world is indicative of this conception
of renewing truth. According to the particular
necessity of the time, place and circumstance and the
deep inner necessity of the people....a corresponding
conscious revelation takes place suited to the
development of those peoples at that time.
Necessity and revelation are dynamic relational
forces. When necessity is united with purity of purpose
and self-sacrifice...then revelation of Divine
knowledge is drawn down to this plane of material
existence...illuminating first an individual, often
giving rise to a system, which then grows, expands
within society, becomes burdened and eventually
decayed by ecclesiastic hierarchy...loses vitality of the
original revelation...which then gives rise to
conditions that enable the necessity of a fresh
revelation. Music is of this self-renewing quality as
well. Thesis-antithesis-synthesis....Progress means
elimination and new acceptance.
Music is ultimately a path of inner transformation.
When the ego of self importance is transcended by the
performer- then pure creative expression can be
realized as a type of divine revelation.
The first step on this path is professional courtesy
towards other musicians and acute sensitivity
tempered with humility and respect. Despite technical
abilities, without this humility, one remains doomed to
the labyrinth of articulate noise.
Much like music, reality renews itself dynamically
according to necessity and circumstances. Change is
opportunity in motion. Wisdom is revealed through
sound and music in its purest creative expression, & is
wisdom at play.
PRAN
AVA
MAG
AZIN
E W
INTE
R IS
SUE
2014
‘Music is ultimately a path of inner transformation.When the ego of self importance is transcended by the performer- then pure creative expression can be realized as a type of divine revelation...”
As a gifted teacher of Bhakti Yoga, Author and a Certi!ed Ayurvedic Lifestyle Counselor, Matura has conducted hundreds of classes, and lead uplifting kirtans in America, England, Australia & India, inspiring others to seek and serve the Conscious Spiritual Reality that is the basis of all world faiths. A preview of Matura's forthcoming book "Absolute Abundance" can be previewed here: www.abundantlives.org
pranava 23