Dancer not an entertaner alone but a mental and physical healer

Dancer not an entertainer alone but a mental and physical healer:

The Reason for the same is that there many hastas and mudras that are performed during the dance form due to which there is some sort of energy that is emitted in the form of positive energy radiations which the audience or one who watches gets the benefit of the physical healing.

To justify the same these are the following reasons :

• When a dancer dances an individual changes the body shape and presents the hasta mudrika which gets to generate some sort of positive energy through the fingers.

• The sound medium which has vibrations with certain frequencies as there is always some sort of frequency which will be there by default in the human body the sound frequency adds to this source and some sort of energy is emitted which comes into contraction with the human body.

• The music notes are the culmination of the beejaksharas predominantly ome hreem shreem kleem souh which is what is sri vidya mantra

• When a dancer dances an individual gets to have such a power that he or she cannot imagine as it is done with full divinity.

• The Sound of omkara or mudras help the dancer to get the direct contact with the celestial bodies in the universe who are none other than gandharvas though the fact lies that bharat mahamuni made sure that all the aspects are covered during the course of dance which includes pancha bhoota tatva as the dancer is dancing in front of the public who are considered to be devine resources sent by the all mighty.

Let me get more indepth with the points which have been stated above :

1. I was talking about the body shapes and hasta mudrikas generating the positive energy which means that, what we are presenting a dance there is depiction of the action. Now these depictions are done via medium of the ten fingers in our body which has its own importance in a way and these are used as antennas to generate the power within you in order to establish the contract with the celestial bodies in the universe. Now to get the contact with the bodies there has to be a medium to contact and for this there has to be a force that should be helping the individual to gain that power which is what is the mudras. Now what happens is the moment an individual does the mudra, with the force that that is mitted due to the sound that is generated from the sounds of the instruments and song which has all the beejaksharas invoked. This when gets contracted that’s when the strong force of the gravity starts acting and whole of the body gets that invisible energy via infrared rays like electrons protons nuetrons and nuenones. This in the vedic terminology are nothing but beejaksharas. Then again the beejaksharas are the once which will have the grammer included which is additional source of energy. It is like generating the energy source with mixture of two or more components as per scientific theory. As The science is born from the vedas and they are translated in scientific terms which today s scientists are giving the terminologies.

2. Now we were speaking about the electrons protons and neutrons and nuenones which as per vedas are Beejaksharas which are predominantly 50 in numbers. Where is the source? Or what is the source for these particles or beejaksharas to get the energy, so there has to be a strong force that should be helping to get that energy like in physics we tend to say that the gravitational force of attraction is always there that will give the required energy respectively. Similarly in case we convert the same there has to be a medium for the transformation of this energy and there has to be a medium so we use instruments which emit certain amount of energy helping in a way to get that contraction with the sound in the vacuum filled environment. There are certain invisible energy which is not visible to normal human being which is minute in nature.

The moment this energy hits the body of an individual, there is mixed reaction due to which there is some sort of strong force starts to taking the reactions and huge energy is bombarded within the body crating strange force whichscientifically is told as the light energy which is what is as per vedas a positive energy call the lamp light. Though this is subject to the thought process which a dancer is holding during the process of dance. Say a dancer is thinking of making it big with name and famethe individual forgetting that he or she is doing the dance with the view thathe is going with the directions provided by the nature which is nothing but the cosmos which is so vast that it can go to micro level and the individual can travel within fraction of seconds to the deepest of the universe and seeing the clear cosmos energy around the individual. This is what is the positive energy that is emitted and this gets transferred to the viewers who are viewing. Now the dancer is sri vidya upasaka whocan reach god with this form art called dance. Similarly there is other sadhaka who does the meditation sitting and uttering the beejaksharas and doing it for many times for months and months this goes in the conscious subconscious and super subconsious mind, this gets imprinted in the mind which gets to take the positive driving force and this inway gets to attract people. Now similarly dancer who dances has primarily the music force, physical force where the individual uses the mudras and other various medium. The point is he or she should have that positive thinking in his mind that I am the servant of god. This is what makes the dancer sri vidya upasaka.

Now not only the dancer as an individual needs to have this positive frame of mind but there has to be a positive frame from the musicians who are performing who are the source to generate the sounds that come from the instrument and this in a way helps the dancer to get in tendum to the music. The musician who is performing or playing the mrudangam or veena has a negative energy meaning that he or she is performing on his own, and ignoring the fact that whatever he is playingis under the guidance of nature mother that’s when comes the strong force of energy which get multiplied to the force of dancer who is dancing on the stage giving that positive energy which will be so strong that the one who is viewing starts to get that positive vibrations and starts to feel that he is getting healed with all the ailments and slowly he or she starts to gets settled with the strong reason I am better now. This I have personally experienced out of blues as I have attended the four programs. The first program I started to see in a casual way and was enjoying, but after sometime I felt some sort of relaxation of mind and body which I felt after coming back home. The vibrations were so strong that I could feel and I am feeling till date. The second one I went with a view that let’s see if this is something I am feeling as if it is myth, then too the reaction this time was some what different as I have been practicing the beeja mantras as a part of ritual during my lively hood as well. I felt the vibrations going hundred times what I was in the first instance then started to introspect on what exactly is happening or happened, then came an answer after all the investigation and going through the scientific research you tube videos and some of the dance performances closely observing the hand moments and leg moments of the dancers. Though I could present it after this paper is presented. Now my idea to share my experience was that there has to positive energy from all the cornors and that’s when an individual can feel the divinity and true happiness in the dance with the mystic driving force that will help the dancer and audience to get that positive energy, though audience are of many types, still it is the key on the dancer who dances who holds with what mind set he or she is dancing this being the key to the generation of the positive energy. Onus lies on the musician, lyricist and the dancer as an individual. One more important thing is dance does not have gener veriations though there is always a debate on male and female. But fact is without shiva there is no mother goddess and without mother goddess there is no shivaand if both come together it is called ardhanarishwara . This means that the this is called the umakara of the universe which is also called omkara.

This is what is called divinity or self-realization aspect of the individual. This is what is called the immense power that he or she holds or got generated after a long penance by dancing to the tunes comprising of beejaksharas which has lot of power and energy which is being emitted. This only a dancer and audience who were viewing could felt. This is something which cannot be explained rather needs to be felt by the dancer.

For a dancer to get this power the only source is mudras in the hastas and legs moment.

I have been seeing many of eminent dancers who who have been dancing for decadesand today if they dance they kindly of agility or vigor or force they hold is amazing and examples for the same are Dr Padma Subramanyam who had done research on karnas and one other guru is Dr vyjayanthi kashi madam/ President awardee Dr Radhe shyam Vedantam Dr Bala akka all of these dancers are in their 60 plus of age yet the kind of divinity or agility they hold is beyond the imagination. How could these dancers attain the same it is like the sadhana these dancers did coupled with the positivity and never the less surrendering to god and thinking that they are doing in the guidance of nature itself. The only force that these dancers hold till date as I have been interacting with radheshyam sir and spoke to bala akka and been speakingto Dr vyjayanthi kashi madam was none the less the vibrations of beejaksharas which they have been doing it for agesand this being a positive driving force, if one who is trying to interact with these people that vibration can be felt and I have experienced the same when i spoke to bala akka and radheshyam sir who has been diligent in his performance not even missing the ritual. The was very interesting thing that had happened when I heard bala akka speaking in one of her workshops which happened and that was the first time I was seeing and spoke to her for just may be five minutes. The point madam was emphasizing on was there is a strong positive force that is generated by dancer with foot which is true in a way.

What really makes a dancer or sadhaka get that positive energy the moment we tap our foot that’s where the earth is blessing you with a positive energy. The eye moments that is air in the vacuum you are trying to appease the nature the and moments which you do is you aretrying to invoke the vayu’s blessings. The moment you fold your hand and put it up it is akasha. Now if we see whole of this exercise you are actually trying to take or rather seek the blessings of the pancha bhouthik tatva and trying to reach to them directly and helping yourself by cleansing which is done in mahanyasa rudrabhisheka where in you clean you nyasas by way of doing salutations to all the god. This is the greatness of Gayathri mantra which which chanted by upasaka. There is word prachodayat which means o mother goddess clean my mind and my heart.

This way the dancer is both physical and mental healer who cures all the physical ailments.

Dancer a mediator between the celestial bodies and earthly beings:

Before even going to explain the phenomena of the contact, with the celestial beings in the huge universe widespread in trillions of miles.

With so many stars and planets hovering around the galaxy with different atmospheric conditions, having different frequencies varying from528 mhz to 2000 mhz which in a way tend to get earth crashing at a rapid speed which cannot be calculated by normal human being. Though the extra teristerial can calculate as their intelligence level is more than expected. Now the pancham veda which is considered to be the dance form which culminates all the forces which has been stated in the book of bharata mahamuni’s natya Shastra. Now With what view bharata mahamuni’s natya Shastra was recited there has to have many questions that should come to one’s mind which are :

1. Was the bharatha mahamuni’s natya Shastra recited by the celestial bodies who ascended down to recite as, I was going through the a documentary on extra terrestrial bodies in YouTube where there is enough of proof that Extra-terrestrial force is invading the earth right from third century where it has been found that most of the pyramids or Ajanta elora caves shilpa Shastra is so strong that, today that technology is not existing and in fact you find the sculptures which are beyond our imagination. Now in order to get into contact with the celestial bodies, there has to be a medium, which is what is the hair braids of the dancer. Though most of the dancers think that the makeup is done to look like the character. The reason for the makeup of the dancer is very simple logic:

Let’s say I as an individual is trying to get the contact with the god so called celestial body. Now there is one more debate on the figure of the deity, Does the deity have any shape or is it like a minute light that flashes and goes of or it like a big flash light which gets into contact with the human physical body. Here the dancer is the one who experiences this force, though dancer needs to be very much divine in nature and pure with his or her thought process. Thinking that he or she is doing on the instructions of the all mighty who is nothing but the that mystic light. Other important thing does the celestial body visible to anyone and everyone. Nope here the real fact is that, The sadhaka will be in the state of mind where he only can explain this mystic effect which in the other way in the opposite direction if we see the audience needs to have the positive vibrations, that’s when you can really feel the effect. To share my exp when I was seeing the dancer dancing I felt that there an aura which was encircling the dancer, all of sudden I see that there is no person beside me, or the space which had only vacuum, though was seeing the people of 100 around me but when I close my eyes I see that these people were not at all there. Instead I saw very strange light with all different colors getting realized and, there was a strange light that was so strong and bright that I had to really open my eyes and I could feel the heat that was generated.

Now same thing I was seeing when I was speaking, to the some of the experienced dancers or teachers who were for three decades. These were the inferences I could gather:

1. There was a strange light that was actually travelling to my mind at a speed which cannot be calculated. Though when I came back to my home I tried to introspect on the same.

2. The effect I could really feel was I was actually trying to speak to the celestial body who was actually trying to convey a message n medium of the frequencies which is getting translated in the brain using the decryption and encryption language. Now when I sit and start to type or write by default the connection is established and the strange light is being transmitted into my right brain and subsequently the alphabets are coming to mind automatically. If I analyze how all this is happening is very simple:

3. When I was watching the dance there was some sort of energy which is being stored in my brain and now when I am penning or recollecting it that’s when the contact with the extra-terrestrial is getting established and it is directing me to write these notes.

Then doing a research on the Sanskrit language found that there are about 102 arab 78 crore 50 lakhs Sanskrit words which were being used in the Sanskrit shlokas with the sandhi samasas used in the shlokas to get the modulation that helps the individual to get the strength to appease the deities who are none other than the celestial bodies in the universe. Now do they have the form is the question, again in the cosmos there are many stars and thousands of galaxies widespread. Though a normal human being could find only few in the universe after doing the scientific research. Satalites being sent across globe for doing the research. The reason for getting this to the notice is:

1. This language was being used in the puranas/upanishadsShruthi/Smrithi/Mahabharatha/Ramayana/other sacred literatures. Now most of the characters or story lines are being taken for the dance from these sacred literatures and these are the characters that are depicted in the dance act.

2. When doing so there are shlokas recitation which should have some weightage and there has to be a source for the same. So the words of the Sanskrit are important which will have some energy. To get the energy source that’s where the grammar comes into picture which allows the one who is reciting the shlokas or the verses which is what is samaveda and that’s when the energy is generated.

Now the moment verses are recited with the music in tandem there is energy source. This helps the sadhaka or the dancer to get the contact with the celestial bodies who are none other than the characters of the divine literatures and thus the celestial body enters the body of the dancer or sadhaka. The phonetics are key aspects of the language that tends to generate the energy in the body with its roots getting into the various energy points of the body and thus this gets into the memory of the individual which generates the positive energy as both the energies get into contact and thus the energy is generated.

Thus this source coupled with the invisible energy source of the celestial bodies who get into the sadhaka or the dancer on the floor due to the positive energy that is generated due to the recitation of the shloka using the grammar as per the limitations. Thus this energy which is emitted stimulates the energy points of both the sadhaka and the audience who I watching touching the energy points of the energy levels that gives resistance against the illness relation and reduces the stress levels of both the sadhaka and audience.Now the other important source is pronouncing the word in shloka which happens after the vocal cords in the body with certain frequency levels. Now the energy points are activated in the body of both the sadhaka and audience who are watching.

Not only these deceases there are many deceases that can be cured if a dancer is dancing and it is being watched by the patient. After having gained the energy from both ends then there has to be a question as what is the reason for the source for getting this positive energy, the reason is simple here what happens is there will be a contact with the celestial bodies who come down to the earth with the sadhaka appeasing the same celestial bodies who have extra ordinary strength that could heal the sadhaka again there has to be unbiased way of performing the dance as this holds the key to get that extraordinary energy for the positive energy generation.

The question is who are these celestial bodies do these have a fixed shape as we are thinking. No there are no shapes to this figure. Though there is a fact that one has to remember that the celestial bodies are none other than the planets that really happen to come in the form of the minute light that will happen to be like that of a big light that will get enlightened.

For a dancer to get the contact with these celestial bodies there are various ways to get connected in a very much effective way by way of activating the 16,008 nadis out of the 72,000 nadis which will with the mudras or hastas for which there is a technical name angika/vachika. I have been stating about the Sanskrit and its grammar which is so necessary to appease these celestial bodies. Reason is simple celestial bodies understand different language which has certain frequencies. Though one cannot really miss on the purity and parity of the mindset which has to be vital character of the individual who needs to understand that this is primary quality of the sadhaka.

What is the definition of the purity and parity thought process is it that you speak good and do good or the thought process of serving someone selflessly. Yes, all of these are very important but there is something very important which is far beyond the human thinking which very few of them could achieve examples are Rama Krishna Param Hansa/Vivakananda/Rabindra nath tagore/Mother terasa. What really is it that these greats did different it is very simple yet tough for any one to come down.

Which are :

1. Being down to earth having so much knowledge.

2. Having that humble nature.

3. The character of taking all the people with equal thought process.

4. Treating everyone the same way he may be a thief or a pauper.

5. The sacrificing of the happiness for others is the greatest character which one should hold.

Now for a dancer these are inbuilt characters which are inborn in the form of expressions which come on the face. Now Not to mention there are very few dancers who really understood this very meaning and have been the most loved dancers.

The celestial bodies are beyond our mindset, because to understand their nature our iq levels should be so extra ordinary that, an individual needs to have that capacity to analyze the scriptures. which has the beejaksharas, and letters in arabs with sandhi and samasas to add as a strength in the samaveda form which has certain frequencies to reach millions and trillions miles beyond the galactic miles. Now to make this happen in half an hour or one hour’s time there has to be certain miracle for the voice to reach the skies as it is so only when bharata mahamuni started his quest to right the natya Shastra he had typically thought of the following points which are :

1. Creation of the harmony culture in the dancing environment.

2. Creating the positive power in the environment by way of the shruthi/laya/gathi/jathis which has some power source to coordinate with the celestial bodies.

3. The other important aspect is the positive health energy manifestation amongst the audience.

Body language primarily/secondary is vachika language which tells to do this expression/thirdly angika the hand and leg moments/fourthly we need to have the divine nature in the mindset.

Now are these enough for a normal individual to communicate with the celestial bodies. The last but not least is the script encryption and decryption. Now when a dancer is putting all these together and starts to perform that’s when an individual can get connected to the celestial bodies and the positive energy is generated thus this is divided amongst the audience and thus we can say that if the dancer is dancing, the individual has the responsibility of generating the positive energy in the atmosphere.

There has to be a contemplation of reaching the celestial body. Now a dancer is necessarily the mediator who tries to bridge this gap and the dancer helps the audience to reach the salvation.

Now is the celestial body having the bodily figure no it is abstract in nature. Now one may question on the why am I telling this,

When bhaktha tukaram was praying on the god he did not really look at the idol as it is shown in the movies likewise meera bai or adi shankara though adi shankara is god incarnate himself.

In a dance predominantly a dancer takes a theme or character, and starts to show in the expressions and uses the hastas mudrika abhinaya. Sole idea is to get connected to these celestial bodies and whatever expression in reality if one can see inner most meaning by getting into cannot really see the body but a vacuum space that will enable the enable the dancer to get that connection of enlightened light that gets into the individual.

This can be explained by the dancer as an individual.

This is what is called mantra and tantra Shastra that helps us to get connected to the celestial bodies in the universe.

What is true definition of tantra shastra and what it has got to do with the dance form and is that mandatory that tantra shastra has to be known by the dancer. If one asks me it is not necessary, yet if one asks me a dancer is tanthra gnani by default because the postures and mudras are the key aspects for the tanthra power due to whicha dancer appeases the celestial bodies. The reason for the tanthra to come into picture is for the following reasons though there has been a misconceptions among the public that tantra is mainly used for the black magic, though the tranthra gnana can be used in the positive ways which only a dancer has that strength. As there is strong positive energy that is generated during the dance form which is emitted due to the hand gestures and mudras which are used during the course of the performance. What exactly happens when we use the specific mudras is that the fingers have certain energies levels due to which there is always a some force that is released and thus if a dancer is doing on the specific character say lord shiva, though here there has to be a source to get to the character’s feelings which is possible if only there is some sort of positive force within the body and that force comes once there is positive energy within our body. Now to get that positive energy there the mudras and hastas are used as a medium and I as a spectator who is seeing the dance once starts to see the minute light or the aura that’s when we can say that there is some tantra effect which a dancer needs to generate while doing the dance. Now adding to this there has to be a source that has to act as a medium for the transfer of the mantra source. Now what are these mantras in the context of dance, if we are speaking about the mantra gnana there are nothing but the scripts which are used while performing the dance on the stage. Now these scripts again have the strong notes which are to be so special that it should generate some sort of energy and this should hit the body of the dancer insuch away that there is strong force that is generated and thus getting the positive energy due to the contact.

To support the argument I have some of the pictures from the eminent dancers who really exhibited the same by using all the gestures and trying to connect with the celestial bodies though one may argue that they may have got this through the practice. But I say that this the discipline that a dancer developed.

Dancer’s braids/expressions/hasta expressions/mudra expressions means of connectivity with the celestial bodies like yaksha kinnare gandharvas who directly connect to ardhanarishwara(both lord shiva/mother goddess)

The division of angikabhinaya covers all the possible movements done by

the human body including the minutest parts of the body such as the fingers, wrists, ankles, toes and so forth. The figure-l gives a clear picture of the various parts involved in the technique of the Indian dances. This analysis of Bharata is regarding to the different parts of the human body and the possibility of their movement. He further comments on the movements and their scope in the technique by giving the definitions and usages of the combination of these primary movements. The charls, mandalas, karanas etc., mentioned by Bharata enrich the vocabulary of the dance. This is clarified in the following verses, "producers of plays should reckon the 'Sakha, dance (nritta) and the Ankura as the three aspects of the Hi^rionic Representation (abhinaya)". "The gestures

(ingika) are called the 'Sakha; pantomiming through them is the Ankura and that

which is based on the Karanis and consists of the Angaharas is called dance (nrtta)"9. The Statement of Sarangadeva given earlier is a repitation of the same

thought. Here we find a clear demmarcation of the pure dance or nrtta and the dance which attempts to convey a meaning, that is Nrtya.

Let us see the comparision of the ardhanarishwara verses by adi shankara वशालनीलाेपललाेचनायै वकासपेहलाेचनाय । समेणायै वषमेणाय नमः शवायै च नमः शवाय ॥ ४ ॥ ambAL's eyes are often described as long, extending upto the ears. This is indicated by the term vishAla. Her eyes (left half) are long and beautiful like nilotpala flower. Lords eyes are radiant like lotus flowers. IxaNa can mean look or eye. viShameXana means some thing odd or different to look at or one who has three eyes. sameXana means it is pleasing to look at. ᳚sa ma᳚ means with laxmI, and HER eyes are auspicious and can bestow prosperity to the devotees. The ardhanArIshvara form is a beautiful combination of ShivA and Shiva. I bow to shrI ShivA and Lord shiva. (i) The three eyes of Shiva-Shakti svarUpam have many beautiful descriptions in saundaryalaharI. In one verse, the right eye is compared to the sun, the left one is compared to moon and the one of forehead is compared to fire. They respectively produce day, night and the sandhya kAlam. (I) Once a poetic puzzle was posed to mahAkavi kaLidAsa asking whether someone has seen a flower inside another flower. He replied that the face of a woman is like Lotus flower and her two eyes are like nilotpala flowers. It is traditional to relate woman's eyes with nilotpala flower. (Ii) IxaNa = look or glance (cast by the eye) sama = even (as in number), even/smooth/peaceful (as in look/gaze-cast by the eye) viShama = odd (as in number), rough/terrible (as in look/gaze-cast by the eye)

shivA = the even eyed one (2 eyes); who casts a peaceful glance shiva = the odd eyed one (3 eyes); who casts a rough/terrible glance

Now a dancer who does the dance tends to use expressions with eyes which play a key role say a dancer raises eyes with hands expanding in either of the sides this means that there is pralaya.

Now the moment dancer as an individual does this act there is a mixed reaction that starts happening which emits some sort of energy within the individual, and this starts to get in contact with the celestial forces beyond the trillion miles, And the force with which the energy is emitted then starts the reaction and a kind of aura is generated with the circle where the dancer is dancing subject to the divinity in the subconscious mind a dancer has set and the players who are playing the instruments to sight you an example bharatha mahamuni used two veenas for which the proof is

tuning: Shadja-grama 10/9 mri " dha 5/3m "

Madhyama-grama 40/27 m pa " 10/9 mri " dha 5/3m "

! 32/27 n ga " ! " 16/9 n n ni " " 4/3 ma n" ! " 1/1n nsa " " 3/2 n pa " 32/27 n ga " ! " 16/9 n n ni " " 4/3 n ma " ! " 1/1n nsa " "

! 1 pramana sruti (81/80) = 21.5 centsnyuna sruti (25/24) = 70.7 centspurna sruti (256/243) = 90.2 cents a Dhruva vina (shadja-grama) n sa' " n ni " dha m 10 : 9 " n pa 9 : 8" ma n 9 : 8" nga 16 : 15 " mri 10 : 9 " nsa 9 : 8 " nni, " sa n" ! Chala vina (madhyama-grama) n 9 : 8 " n 16 : 15 " m 9 : 8 " with Pa-string lowered by a pramana sruti (producing a major scale on c,Bhairavi ni or Suddha ni, a major tone below sa, the tonic d) m 10 : 9 " n" n" m" n" n" n" ! 1b Dhruva vina (shadja-grama) 81/80 n" n" m" n" n" n" m" n" n" n" ! Chala vina (shadja-grama) m" m" l" with all strings lowered by a pramana sruti (Syntonic Comma) m" m" m" l" m" m" m" ! 2 Dhruva vina (shadja-grama) 16/15 n" n" m" n" n" n" m" n" n" n" ! Chala vina (shadja-grama) u" m" t" with all strings lowered by an additional purna sruti (Pythagorean Limma) u" u" m" t" u" m" u" ! 3 Dhruva vina (shadja-grama) 10/9 n" n" m" n" n" n" m" n" n" n" ! Chala vina (shadja-grama) o" f" n" with all strings lowered by an additional nyuna sruti (Minor Chroma) o" o" f" n" o" f" o" ! 4 Dhruva vina (shadja-grama) 9/8 n" n" m" n" n" n" m" n" n" n" !

Transcription of a chart presented in 'Ragas in Carnatic Music' by Dr. S. Bhagyalekshmy (CBH Publications, Sriganesh, India, 1990) Chala vina (shadja-grama) n" e" m" with all strings lowered by an additional pramana sruti (Syntonic Comma) n" n" e" m" n" e" n"

This commentary explaining Bharata Muni’s experimental tuning procedure to establish the srutis on two identical harp-like vinas, as related in the ancient NATYA SASTRA more than two thousand years ago, is copied from the chapter ‘Early Experiments in Music’ of the great anthology ‘South Indian Music’ Book V by musicologist Prof. P. Sambamurthy, first published in 1963, and in May 1999 in the Seventh Edition by The Indian Music Publishing House, Royapettah, Chennai

The vina was not only used as a concert instrument from early times, but was also used for studying and verifying the various musical laws and phenomena. Both the harp type and the lute type of vinas have been in existence from the vedic times. The emergence of the fretted vina with its immense possibilities for playing subtle gamakas, naturally forced the harp type of vina into oblivion.

A study of the notes obtained in the cycles of fifths and fourths enabled the ancient scholars to perceive the different musical intervals. They were already familiar with the chatussruti interval (9/8 or 204 cents), trisruti interval (10/9 or 182 cents) and the dvisruti interval (16/15 or 112 cents) in the sa grama. The ma grama helped them to appreciate the interval of a pramana sruti, 22 cents. When the notes of the cycles of fifths and fourths, worked up to the 12th cycle in each case, were reduced to one octave and studied, it was found that there were 13 twins of notes, inclusive of the octave shadja, the notes constituting each twin being separated by the interval of a pramana sruti (comma 81/80 or 22 cents). It was also noticed that in each twin, the lower note belonged to the cycle of fourths and the higher note to the cycle of fifths. The same study helped them to realize that in addition to the pramana sruti, there were two other types of ekasruti intervals : 25/24 or 70 cents and 256/243 or 90 cents.

In his Natya Sastra (4th cent. B.C.) Bharata has suggested an interesting experiment to get a clear grasp of these three types of ekasruti intervals. These three types of ekasruti intervals are in the increasing order of magnitude respectively termed Pramana, nyuna and Purna sruti intervals or the srutis of minimum, medium and maximum values.

DHRUVA VINA : CHALA VINA EXPERIMENT

Two vinas which were exactly identical in all respects including the timbre of their notes were chosen and tuned to the scale of sa grama. That is seven strings of each vina were tuned to the notes of the following frequencies : –

1 10/932/274/33/25/316/9

These two seven-stringed vinas were of the harp type and were played on open strings, Fig. 1 shows visually the identical pitch to which the seven strings of the two vinas were tuned. Of the two vinas, the pitch of one was kept constant and this was called the Dhruva vina or Achala vina. This stationary vina (A) was used for reference. The other vina called Chala vina, (B) was subjected to progressive reduction in pitch in four successive stages. At each stage, the reduction effected was by an interval of one sruti. Although the phrase ‘reduction by an interval of one sruti’ might lead to the inference that the reduction effected in each case was equal, still the rider added by Bharata at the end of each stage, that such and such a note of the chala vina will now be equal to such and such a note of the dhruva vina, conclusively proves that the reduction in pitch, effected at each stage, though within the limits of an ekasruti interval was still not the same.

Now to the experiment described by Bharata : – Stage 1. ‘Let the pa string of the chala vina be reduced by one sruti. The scale of the chala vina will now be that of ma grama.’

Note : The frequency of this reduced panchama was only 40/27 or 680 cents and not any other pitch, since between this note and the dhaivata above there was a chatussruti interval. The panchama string was thus reduced by an interval of a comma or a pramana sruti.

‘Now convert the scale of this chala vina into one of sa grama, by lowering the pitches of the remaining six strings by the same interval of a pramana sruti.’

The strings were reduced in pitch by slightly decreasing the tension i.e., by loosening the strings to the required extent. Both the vinas became now sa grama vinas, but the tonic note of the chala vina was a comma lower down, compared to the pitch of the achala vina, Table 1 clearly shows how each string of the chala vina is a pramana sruti lower than that of the corresponding string of the dhruva vina.

Stage 2. ‘Reduce the panchama of the chala vina again by one sruti and afterwards reduce the other six strings also by the same interval. The

gandhara and nishada of the chala vina will now be found to coincide in pitch with the rishabha and dhaivata of the achala vina.’ (II). This means that the extent of the reduction was such as to make this coincidence of notes possible. The sum total of the reduction made in the two stages was thus equal to an interval of a diatonic semitone, 16/15 or 112 cents. Since the first reduction was by an interval of a comma, it is evident that the reduction in stage 2 was by an interval of a purna sruti 256/243 or 90 cents. It is clearly seen that each string of the chala vina is a purna dvisruti interval below the corresponding string of the dhruva vina.

Stage 3. ‘Reduce the panchama of the chala vina again by one sruti and follow this up by reducing the pitch of the other six strings similarly. The dhaivata and rishabha of the chala vina will now be found to coincide with the panchama and shadja of the dhruva vina.’ (III). This means that the extent of the reduction was such as to make this coincidence possible. The sum total of the reduction made in all three stages was equal to an interval of a minor tone, 10/9 or 182 cents. Since the total reduction made at the end of the second stage was a diatonic semitone it follows that the reduction made in the third stage was by an interval of a nyuna sruti, 25/24 or 70 cents. It is thus seen that the pitch of each string of the chala vina is now less than that of the corresponding string of the dhruva vina by the interval of a trisruti or 10/9.

Stage 4. ‘Reduce the panchama of the chala vina again by one sruti and carry out this process for the other six strings as well. It will now be found that the pa, ma and sa of the chala vina coincide with the ma, ga and ni of the chala vina.’ (IV). It is clear that the reduction effected in this last case was by a pramana sruti, since the notes of the pairs: pa and ma; and ma and ga; and sa and ni have between them a chatussruti interval. We thus find that the pitch of each string of the chala vina is less than that of the dhruva vina by a major tone, 9/8 or 204 cents.

Thus the effective reduction in pitch made in

Stage 1 was a pramana sruti 81/80 Stage 2 was a purna sruti 256/243 Stage 3 was a nyuna sruti 25/24 Stage 4 was a pramana sruti 81/80

In other words, the reduction has been respectively by the intervals of a minimum sruti, maximum sruti, medium sruti and minimum sruti. In terms of the shadja of the dhruva vina, the frequencies of the panchama string of the chala vina at the four respective stages were: 40/27, 45/32, 27/20 (the frequency of Begada madyama) and 4/3. It should be remembered that the scale of the chala vina at the conclusion of each change of pitch of the seven

strings was one of sa grama, the value of the adhara shadja progressively decreasing in each case.

One interesting point in Bharata’s experiment is, he asks us to start the reduction in each case with the panchama string. As a practical musician, he knew and fully realized the value of initiating the change from the string which gave the strong consonant note.

The object of Bharata in devising this experiment was : –

1. To demonstrate the three types of ekasruti intervals that occurred in the Indian musical scale.

2. To familiarize musicians with the idea of inversion of intervals. Thus the Begada madhyama is an inverted minor tone from the panchama.

3. To impress the distinction between absolute pitch and relative pitch.

4. To illustrate the 22 srutis.

The 22 are easily the possible notes that can be used in a melodic system of music.

It is useful to remember that in ancient times, all musical instruments were tuned to absolute pitch as is the case with European musical instruments even now and the middle octave shadja was a note of a precise frequency just like the international philharmonic pitch.

With the emergence of the concept of adhara shadja in the post-Bharata period, all ragas came to be sung to a common tonic note. Again the emergence of the concept of shadja and panchama as avikrta svaras made the pramana sruti intervals around these two notes pale into insignificance. The note of frequency 40/27 so prominent in the ma grama fell into desuetude along with the ma grama and gradually gave way to the note 64/45 which came to be called by various names as kaisiki panchama, mrdu panchama and varali madhyama.

Bharata in his experiment missed the note 64/45 because he was proceeding downwards from panchama. If he had proceeded upwards from suddha ma, he would have hit upon the note 64/45. He adopted the downward course since he wanted in the first instance to illustrate practically the ma grama and hence the note 40/27 had to be touched. The other notes got in successive reductions were only 45/32, 27/20 and 4/3. This is clear from the rider which he has given at each stage, i.e. that such and such a note of the chala vina coincides with such and such a note of the dhruva vina.

Further, musicians at that time were already familiar with the downward progression. The murchanas of sa grama were enumerated in the downward order. The progression of sama gana music was in the downward order.

This experiment can even now be performed with the Pradarsana vina devised by the author of this book and Bharata’s conclusions verified. Those who perform this experiment will incidentally get training in the reduction of pitch by such delicate intervals as pramana, nyuna and purna srutis.

In the experiment, Bharata has not mentioned the equivalents of the notes given by all the strings of the chala vina in relation to the notes given by the strings of the dhruva vina. He has referred to the notes of only those strings of the chala vina whose pitches exactly coincided with those of the dhruva vina. He refrained from doing so, since the srutis of the particular strings of the chala vina after reduction, were either close to the other correct srutis or were useless.

The Dhruva vina - Chala vina experiment can be performed in the reverse order starting from the madhyama string and proceeding in the Arohana krama by tightening the string to the desired pitch in each case and the results verified.

It is possible that the four stages of reduction mentioned by Bharata for each of the sapta svaras might have suggested to Mahendra Varman, the author of the Kudumiyamalai inscription the four sruti varieties, ra, ri, ru, re, ga, gi, gu, ge, etc. for the sapta svaras

Now I had to take whole of this text of translation of bharata mahamunis text is, wanted to show that how important the music notes are important to coordinate with the celestial bodies. Unless there is some frequency generated from the music instrument and this getting in contact with the braids of the dancers which act as antenas with the abhinayas as expressions tends to give some force this explodes into very heavy energy force which gets in contact with the celestial bodies in the universe though I am providing the original authenticated text study and its true translation as stated in the book. This as a result makes our body into ardha narishwara roopa which a dancer realizes in case an individual does it with devine. This has to be felt by the dancer. The dancer feels this once the individual has that devine force acting in the subconscious mind and the musicians having the same feeling. Thus I conclude this chapter giving salutations to adi shankara and bharata mahamuni to have that fore sighted thinking about the dance. Though this is the knowledge which was imparted to bharatha mahamuni by shankara himself who wanted to make sure that the society on the earth goes in the right path. The dance being one of the medium where the positive energy is emitted via the mudrikas. This is one easy way to reach gods and speak to the god in god’s language which is nothing but the inner most light which ignites only if we have that perseverance and patience. Now last but not least Does a dancer need to do all the mudras/karnas/expressions in more methodical way yes, unless a dancer does in a systematic way there is no way that he or she reaches the god.

Karanas in the dance form not only used for dance but for the astrological purposes.

In the Previous I was talking about the mudras/karnas/vernas along with the true explanation of the bharath mahamuni’s music notes explanation. Now let us get more in depth withthe importance of mudras/karnas/vernas subject which is widespread into various areas

Which is as follows

Karana and Their Effects on People and their Personality A Karana is half a Thithi or 6 degrees of arc. In thirty Thithis comprising of the Lunar month, there are sixty half-thithis or Karanas. In other words, each Thithi has two Karanas. The first Karana ends at the middle of the Thithi and the second Karana is upto the end of that Thithi.

Table of Karanas within Thithis

The following chart will help you to find out the Karana from the Thithi.

Thithi

1st Karana

2nd Karana

1st

Kimstugna

Bava

2nd

Balava

Kaulava

3rd

Taitila

Gara

4th

Vanija

Vishti

5th

Bava

Balava

6th

Kaulava

Taitila

7th

Gara

Vanija

8th

Vishti

Bava

9th

Balava

Kaulava

10th

Taitila

Gara

11th

Vanija

Vishti

12th

Bava

Balava

13th

Kaulava

Taitila

14th

Gara

Vanija

15th

Vishti

Bava

16th

Balava

Kaulava

17th

Taitila

Gara

18th

Vanija

Vishti

19th

Bava

Balava

20th

Kaulava

Taitila

21st

Gara

Vanija

22nd

Vishti

Bava

23rd

Balava

Kaulava

24rd

Taitila

Gara

25th

Vanija

Vishti

26th

Bava

Balava

27th

Kaulava

Taitila

28th

Gara

Vanija

29th

Vishti

Shakuni

30th

Chatushpada

Naga

Fixed Karanas and personality of those born in these Karanas

There are four Karanas that occur only once in a month. They are fixed Karanas and their effects, according to "Yavana Jathaka", are as follows.

No

Name of Karana

Influence

1st

Shakuni

The person of this Karana will be calm, composed, intelligent, gifted with intuition and full of good deeds

2nd

Chatushpada

The person of this Karana will do independent business, take great pains in work and will be truthful

3rd

Naga

The person of this Karana will be a specialist and successful in professions connected with minerals. Will be of good character and capable of mesmerizing and catching snakes.

4th

Kimstugna

Persons of this Karana are intelligent but may be bent on doing bad deeds; are heartless, unpopular and may suffer much in life.

Effects of recurring Karanas

The remaining seven Karanas recur eight times during the Lunar month. Their names and effects are

No

Name of Karana

Influence

1st

BAVA

People born inthis Karana will be poor but will be kind and content with what they get. They will be successful if they pursue a career with the Army.

2nd

BALAVA

The person born in this Karana will be handsome, courageous, sacrificing and will be interested in sports and extra-curricular activities.

3rd

KAULAVA

Those born in this Karana will be intent on doing bad deeds as his earlier environment was not congenial to moulding a good character.

4th

TAITILA

The person born in this Karana will be soft hearted, even tempered and with strong convictions. Constitutionally the person will be strong.

5th

GARA

The person of this Karana will be a good strategist, imaginative and talkative.

6th

VANIJA

The person of this Karana will have good business acumen and will be capable of succeeding in any type of business.

7th

VISHTI

The person of this Karana will be heartless, without friends and will be bent on doing bad deeds.

An Introduction to Tithis and Effects on Personalities

This is the time during which the difference of the increment of longitude of the Sun and the Moon amounts to 12°. Each Tithi or Lunar day is equal to 0.9483 of a day so that a lunar month, when the Moon completes a 360 degree rotation is equal to about 29.53 days.

Thithi can be found from any horoscope if we know the positions of Sun and Moon in the natal chart.

The 15 days, commencing from Amavasya (the last day of the dark half of a lunar month) to Purnima (Full moon), are called the Tithis of the Shukla-Paksha (brighter phase) and the days commencing from Purnima to Amavasya are called Krishna Paksha (darker phase).

In Indian Astrology, the calculation of the Tithis starts from Pratipada (The first day in each half of the lunar month) of the Shukla-Paksha.

Influence of Tithis

Influence of Thithis (Lunar days) on a person born in a particular 'Thithi', according to"Yavana Jathaka" is given below.

Lunar Day

Names of Thithis

Explanation

1st

Pratipada

The person born in this lunar day will have a good wife and also enjoy extra-marital relationships.

2nd

Dwitiya

The person born on this day will seek the truth. This person will be liked by all and will be skilled in using weapons.

3rd

Thritiya

Those born on this day will be immoral and will be after immoral women. They will be bent on harming others.

4th

Charturthi

Those born on this day will be greedy and will not be helpful to others. They will also be secretive.

5th

Panchami

Those born on this day will be intelligent and live long. They will have strong moral character.

6th

Shrashti

Those born on this day will have more male progeny. They will be after sensual pleasures and will have a big circle of friends.

7th

Saptami

Those born on this day will be rich and will have good character. They will respect elders and learned men.

8th

Ashtami

The person born on this day will be faithful to the spouse, have many interests and speak well.

9th

Navami

Those born on this day will be passionate and courageous. They will be interested in and talented to pursue arts and will be deadly to their opponents.

10th

Dasami

Those born on this day will be highly successful in business pursuits. They will be well-versed in sciences and will have strong convictions.

11th

Ekadasi

Those born on this day will be unprincipled. They are jealous of other's progress. Their mind will be occupied by thoughts of cohabiting with women.

12th

Dwadasi

The person born on this day will be popular with women and amass wealth. This person will have many enemies but will handle them intelligently.

13th

Trayodasi

The person born on this day will have wide circle of relatives and will make them happy. This person will be pure at heart, enjoy good health and do everything with great care and perfection.

14th

Chaturadasi

Those persons born on this day will have a healthy body and a great personality. They will have convictions of their own on everything.

15th (in bright half of the month)

Pournami

The person born on this day will keep long hair, live up to 80 years of age and will be efficient in all undertakings.

15th (in dark half of the month)

Amavasya

The person born on this day will become deadly to opponents and will enjoy a good life.

Generally, a person born in the bright half of the month will have a long life, will be helpful to others, will be a great friend and win over women easily.

The person born in the dark half of the month will harbour thoughts of harming others and have rustic speech. This person may not have order and discipline in life.

The point of getting this subject into context is that in a dance form there are four reasons which are as follows :

1. When parashara maharishi narrated the natya Shastra to bharatha mahamuni, as stated in the in shastras there are three ways a bhakta can reach god or get to the convergent point of ultimate truth and become one to the eeshwara or raja rajeshwari is :

2. Mantra Shastra

3. Tantra Shastra

4. Natya Shastra (this has both mantra Shastra and tantra Shastra).

5. Dance is not only for entertainment but also to control the planetary motions in the universe. As the dancer dances in the space given which is apara vidya state, where dancer is the doer and the dancer as an individual takes the way the force comes and generates the force to get connected to the celestial bodies. Though para vidya is the one where the mantras are recited in the form on sama veda where it depends on the sounds produced.

6. Dancer here is to be treated as ardhanarishwara roopa tatva which has both the sides of male and female who are none other than shaktha and shakthi, though predominantly the force of shakthi is prevalent or can say the the dominative force would be of shakthi.

7. A dancer here after getting the invocation of the mantras that contain the beejaksharas gets some super natural powers due to which the individual would be able to perform for a longer duration. The real reason behind dancer having that capability of stamina to do the dance for the a longer duration is the power of beejaksharas that are there in the shruthi/laya/gathi/jathis that are composed.

As stated in above considering all these factors the dancer gets to take control over the universe celestial bodies who brahmrishis and they are the clan peace makers in other words gothras of an individual. Now the movement we get gothras that’s when the tithis play a key role in the individual’s life and the horoscope is generated, his or her astrology started working on. What is astrology, this is the science where the individual who is under the influence of planets moves on in his or her life. What takes control of these planets,the Shastra that gives the ways to appease these planets are mantra and tantra Shastra. Mantra contains beejakshras which we recite for 108 times and when practicing the mantra ucharana is not only enough but we need to have certain hand gestures which help us to get that energy. This energy is stored in the five fingers and the palm being your support. So a sadhaka starts to practice that yoga with mudras performance. Now dance form being the pancham veda having all the shastras engulfed in this art form, bharatha mahamuni created a way out by assigning 108 karna mudras. This in return helps us to get connected to the rishis and munis and other celestial bodies in the universe in easy way. Now whatever karnas or mudras that are carved in the sculptures of the temple in india are based on the pancha bhoota tatva.

Mananath traite iti mantrah

When we chant the mantra several times the mantra itself will be imbibed in the body of the individual.

So karnas not only stipulate itself to the extent of becoming a source of energy or rather without karnas the dance is a not a full dance though it has all the multiple uses like it is related to astrology as well. The powerfull tool to generate the positive energy as healer and many more uses like this.

Now going further what is the source for the karnas to get that positive energy which directly connects to ehatma/parmatma/jeevaatma which are associated to chaturmukha brahma swaroopa which is as per the tatva Shastra which is again devided into four phases of chaturmukha brahma swaroopa. Now the 108 karnas are the composition of pancha bhoota tatva/Karma indriya/gnandriya/pancha prana/pancha upa prana/etc, like I said 108 karnas are also related to the nakshatras and rishis/brahmarishis. Now there has to be a question raising in the reader’s mind that if we are talking about pancha bhoota tatva why are am I talking about the indriyas/pranas/upa pranas, the reason being that pancha bhootas there is some invisible force that is generated and it controls all the indriyas as a unit.

How there is para vidya and apara vidya that has to be consistently worked upon by the sadhaka and natavanga.

The karnas in the dance form are not only limited to dance form but also for the other purposes like appeasing the planets and getting a better life as a whole. Now in the next chapter I will be discussing on the eeshwara swaroopa and its primal source being the karnas/mudras.

The fourth chapter continuation, In the previous chapter I was speaking about the karanas in the dance not only used for the dance but for the astrological significance as well. In this chapter I will be going indepth into the ehatma/parmatma/jeevatma and why the chaturmukha brahma/meaning of tantra Shastra and mantra Shastra and its importance in dance which I touched in the previous chapter. Why 108 karnas not any other numbers also will be explained in detailed as dance is not only stopping itself to the entertainment purposes. Though a dancer has to remember one thing that whatever karnas or muydras an individual is performing are directly related to various fields which includes the following :

1. Health healing energy is emitted

2. The astrological healing is also done

C)The mental healing

All of this happens due to the contact with the celestial bodies in the universe by way of using the karnas and mudras

Let get into the indepth of how exactly it happens which includes mantra Shastra and tantra Shastra, tatva Shastra

Let us start with the following example :

Tam Tat Tahai

Let me explain bit by bit what it means :

Tam here means param atma

Tat here means akhand atma or beyond the world

Thai Poorna atma

The moment the natuvanga utters these lines what happens there establishes a connection with the celestial bodies/stars/maharishis

As there has to be a language to communicate with these bodies and this is composition of the beejaksharas which is translated further by way of karana moments as per the instructions of the bharatha mahamuni who had certain guidelines for the same.

Similarly let us take the other line:

Taihi tahat tam thata thai

This means that thandava nruta is this world which is nothing but the tatva of poorna swaroopa’s world in this universe. Which means that this is one convergent point where the atma and paramatma gets united.

Here is where a dancer has to remember about the karnas he or she is presenting :

1. The karna if it is performed in a way it is performed, that’s when the effect of the mantra will be happening, else there will be no side reactions but it would be like an individual is using the body language which a normal person can also do. However a dancer being professional has a social responsibility of remembering multirole here. Here dancer has a responsibility of making the environment very positive by way of karnas where the positive energy is emitted.

As I am speaking about the tatva Shastra what it really means :

Tatva in the realistic sense if we take means taking the moola adhara and trying to get some meaning to the gesture an individual is performing.

Tatva Shastra mainly deals with the three parts respectively :

Ehatma / Jeeva atma / paramatma

Ehaatma here means that the dancer is confiding to one particular character as it gives real meaning if we get into the subject.

Jeevatma :

Here the artist actually gets into the character and starts plying the same and this belongs to all of the characters in the mythology or the celestial bodies using both ehaatma and the in a way it is like getting into the shoes of the character and start to play the same.

Paramatma :

Here the paramatma is the state where it comprises of the ehaatma and jeevatma which where by the body gets united to the supreme soul as a whole.

Though in the initial stage tindividual gets into the kevala swaroopa of the celestial body.

Now we have been looking into the 108 karnas as the means to get in touch with the celestial bodies in various ways which act as a medicine to the viewer/appeasing the planets as whole of the body actually gets in touch with the planets by way of the five fingers helping us to reach the panchabhootas. The beejaksharas acting as the source for getting the energy to get the contact with the planets.

Let us talk about this verse :

Tatga dheem tata

Here if we see dheem means that mindset of the individual, here what is happening is an individual is getting in touch with the celestial body or rather trying to plead god to give that plane and purity mind to send the positive vibrations to the audience.

What is eeshwara swaroopa here :

He is the one who is having the ability to present the acting abilities in many dramas in a way presenting the multi role capabilities. Now in order to get into the character there has to be a means which is what is karana mudras.

The point here is that tatva Shastra predominantly deals with chaturmukha brahma who has all the knowledge pervading of the chaturvedas which are rig/yjur/sama/atharva.

The one who is holding all the knowledge of four vedas.

In simple terms 108 karnas are key for the controlling of the pancha bhoota/karma indriya/gnandriya/pancha prana/pancha upa prana again these are controlled by the celestial bodies in the universe.So to get in touch with these we need to have a source which is what mantram by way of verse then we need tantram which is nothing but exhibition of the karnas which helps us to generate that source and there by get in contact with the celestial bodies.

Now we were talking of importance of karnas with the mantra and tantra Shastra. Furthur more these are very important aspects of the mantra Shastra :

Shabda matrika is required, when I spell out certain words it should have certain strength. The strength for the word comes the matras and matrikas of the word. The source for the same are the beejaksharas with sapta swaras in place. Every word has certain frequency with which it has to be pronounced or enunciated or rather stressed upon.

This is what gives strength to the mantra when he or she recites.

Now a dancer knows the posture of the karana here and he does it, will there be any effecton this, no that’s where the mantra Shastra comes into picture which gives certain instructions of putting a pause or stressing on certain alphabets in other words which gives certain strength to the mantra.

There is other aspect which has to be taken care of which is tantra Shastra which is what is going with the instructions and doing it accordingly and thus the effect of the mantra ucharana takes place.

Shabda matrika is all about the voice modulation/sandhi/samasa/Vichada

The 108 karnas in simple terms is all about the going in coordination with the mantra Shastra and tantra Shastra.

Note :

There is wrong notion in general public that tantra Shastra is reference to the occult science due to presence of black magic in place which is not the case in dance form here tantra Shastra has a different meaning altogether which is the performance in certain guidelines in a disciplined fashion with certain degree of purified mind.

Now to get to the notice of the readers in the olden days the dances were performed either in temples or the place where there is positive energy flowing.

Let me close this chapter with a line

Mananath traite iti mantrah

This means that if we are chanting any name or line for many times this can be treated as mantra for the ucharana purposes. As this becomes habit to the sadhaka.

In the previous chapter I was talking about the tantra Shastra, let us getting into the subject in more indepth of tantra and why do we need to compare it with the 108 karanas in the dance form. What was the nessicity for bharata mahamuni or parashara maharishi to tell bharata mahamuni to talk about the tantra Shastra in dance form.

There are two things that one needs to talk about which are two types of vidyas :

Which are para vidya and apara vidya

Para vidya deals with the medidative technique of performing the tantra where you choose a mantra and start chanting for either 9 times reason being here we are trying to appease the nine planets in the universe to give that source of strength to withhold during the times of difficulties. The other one is 11 times here we are trying to call upon the rishis to give you that strength and the gnana netra to understand the real and unreal happenings in the daily life.

The 27 times this signifies that there are 27 nakshatras and all the nakshtras influence the individual some way or the other irrespective of whether they are born with a definite nakshatra during the time born. 108 times this is what is called ashtothara where you chant the mantra 27 * 4 = 108 times. This is couples by the bodily posture of the sadhaka like doing mudras with the hands. Here parashara maharishi was so focused with the future point of view that he could recognize that the people’s neccisisties in terms of the gnana netra, he calculated that most of the people in society are so naïve that they may not have the knowledge about the hastas/mudras/mudrikas so he made sure that there be some guidelines to the sadhakas to attain that moksha sadhana. Thus he introduced the yoga sadhana which is raja yoga/manas yoga again.

Before getting to the dancer’s language we need to understand about the apara vidya which is how you are taking, as I am taking the subject of dance let me explain as a dance, the dancer who dances has various ways to perform and motive varies from person to person, some may do the dance as their livelihood some do it for the entertainment, some for a social cause, some do it out of passion and interest towards the subject etc. But here one has to remember dance is devine art which involves both Shakta and shakthi. Predominantly it is hskthi that dominates the show as we know she is the one who has created the universe. She can create the universe and destroy the universe. In case any one is born this is solely due the mother as she bares the baby in the womb for nine months which means that in nine months every month mother with her pre meditative thought prays to nine planets to give the strength to the baby where by the baby who comes out of womb after the nineth month can hold the strength of the panchbhootha. Here also there is pancha bhoota tatva.

Coming to the apara vidya here the sadhaka gets to reach the salvation point using the abstract forms of art out of which are the dance form/yagna/homa where all themudras or hastas are performed with the chanting of mantras in yagna and homa. With presentation of mudras/karanas/hastas in dance form.

"The word 'Tantra' has been derived in the Kashika-Vritti (7-2-9) from the root 'Tan' 'to spread' by the Aunadika rule Sarvadhatubhyah tran, with the addition of the suffix 'tran'. Vacaspati, Anandagiri, and Govindananda, however, derive the word from the root 'Tatri' of 'Tantri' in the sense of Vyutpadana, origination or knowledge. In Ganapatha, however, 'Tantri' has the same meaning as 'Tan' 'to spread' and it is probable that the former root is a modification of the latter. The meaning Vyutpadana is also probably derived by narrowing the general sense of Vistara which is the meaning of the root 'Tan'."

Now getting into the meaning of vistara referring to the universe is that our universe is wide spread with trillions and trillions of light years with all the nakshtras and moons and galaxies at their places. The sadhaka who does the dance here tries to reach this universe using the abstract techniques of mudras and hasta techniques.

The Kamika Agama of the Shaiva Siddhanta (Tantrantara Patala) says:

Tanoti vipulan arthan tattvamantra-samanvitan

Trananca kurute yasmat tantram ityabhidhyate.

(It is called Tantra because it promulgates great knowledge concerning Tattva and Mantra and because it saves.)

It is a common misconception that Tantra is the name only of the Scripture of the Shaktas or worshippers of Shakti. This is not so. There are Tantras of other sects of the Agama, Tantras of Shaivas, Vaishnavas and so forth. We cannot speak of "The Treatise" nor of "The Tantra" any more than we can or do speak of the Purana, the Samhita. We can speak of "the Tantras" as we do of "the Puranas". These Tantras are Shastras of what is called the Agama. In a review of one of my works it was suggested that the Agama is a class of Scriptures dealing with the worship of Saguna Ishvara which was revealed at the close of the age of the Upanishads, and introduced partly because of the falling into desuetude of the Vaidika Acara, and partly because of the increasing numbers of persons entering the Hindu fold who were not competent (Adhikari) for that Acara. I will not however deal with this historical question beyond noting the fact that the Agama is open to all persons of all castes and both sexes, and is not subject to the restrictions of the Vaidika Acara. This last term is a common one and comes from the verbal root char, which means to move or to act, the prefix 3 being probably used in the sense of restriction. Acara thus means practice, way, rule of life governing a Sadhaka, or one who does Sadhana or practice for some desired end (Siddhi).

The Agamas are divided into three main groups according as the Ishtadevata worshipped is Shakti, Shiva or Vishnu. The first is the Shakta Agama, the second the Shaivagama, and the third the Vaishnava Agama or Pancaratra. This last is the Scripture to which the Shrimad Bhagavata (X. 90. 34) refers as Sattvata Tantra in the lines,

Tenoktang sattvatang tantram yaj jnattva muktibhag bhavet

Yatra strishudradasanang sangskaro vaisnavah smritah.

Some Agamas are called Vaidik (Vaidika Agama) and some non-Vaidik (Avaidika). The Kurma Purana (XVI.1) mentions as belonging to the latter, Kapala, Lakula, Vama, Bhairava, Purva, Pashcima, Pañcaratra, Pashupata and many others. Pashupata again is said to be both Vaidika and Avaidika such as Lakula. Kurma Purana (Uttarabhaga, Ch. 38) says "By Me was first composed, for the attainment of Liberation, Shrauta (Vaidika) Pashupata which is excellent, subtle, and secret, the essence of Veda (Vedasara). The learned devoted to Veda should meditate on Shiva Pashupati. This is Pashupata Yoga to be practiced by seekers of Liberation. By Me also have been spoken Pashupata, Soma, Lakula and Bhairava opposed to Veda (Vedavadaviruddhani). These should not be practiced. They are outside Veda."Sanatkumara Samhita says:

Shrautashrautavibhedena dvividhastu shivagamah

Shrutisaramapah shrautah sah punar dvividho matah

Svatantra itarash ceti svatantro dashadha pura

Tatha' shtadashadha pashcat siddhanta iti giyate

Itarah shrutisaras tu shatakoti-pravistarah.

(See also Vayu Samhita, Ch. I. 28

(Shaivagama is of two kinds, Shrauta and Ashrauta. Shrauta is Shrautisaramaya and of two kinds, Svatantra and Itara. Svatantra is first of ten kinds and then Siddhanta of eighteen kinds. (This is the Shaivasiddhanta Agama with 28 Mula Agamas and 207 Upagamas. It is Shuddhadvaita because in it there is no Visheshana). Itara is Shrutisara with numerous varieties. Into this mass of sects I do not attempt here to enter, except in a general way. My subject is the doctrine and ritual of the Shaktas. There are said to be Shaiva, Vaishnava, and Shakta Upanishads favoring one or another doctrine.

If we logically see the 108 karanas and agamas are already existing which a dancer exhibits while dancing and this in return facilitates both the dancer as well as the viewers who are viewing the same.

Thus I end this chapter with a note that karanas the sources for the betterment of not only dancer but the one who views as an audience.

So far I was talking about the various aspects in dance.

For further continuation let me talk about the ingredients of the mantra which are beejaksharas pertaining to shakthi as I have been talking all this while about the sounds and the strength of beejaksharas which are there in the mantra and tantra Shastra:

Mantra in the Yoga tradition consists of the use of sacred sounds and intentions to transform the energy of the mind in a positive direction. Mantra is probably the most powerful and commonly used of all yogic meditation methods. All the main paths of Yoga – whether of knowledge, devotion or action, or whether Hatha, Raja or Kundalini Yoga – have their key mantras. Mantras can also be performed to help us with concentration, with our work, dealing with emotions, for health, prosperity or overall well-being.

Mantras are of many types. Some are longer prayers and intentions, like the famous Vedic Gayatri mantra to the solar Godhead. Others consist of the repetition of Divine names like the well-known mantra Om Nama Shivaya for Lord Shiva. Yet probably the most important and simplest of all mantras are the single syllable mantras called “bija” or seed mantras starting with ome . They can be used for meditation, worship of deities, energizing prana or for healing purposes – for all aspects of mantra practice. These main bija mantras are also called “Shakti mantras,” as they are commonly used in the worship of the Goddess, who Herself, is the power of sound and mantra.

Shakti bija mantras carry the great forces of Nature such as the energies of the Sun and Moon, electricity and magnetism, not simply as outer factors but as inner potentials of Divine light, love and wisdom. Shakti mantras hold, resonate, and propel the Kundalini force, the higher evolutionary power of consciousness, to flow within us. In this article, we will focus on the eight prime Shakti bija mantras, their energies and usage for Yoga, for health, and for improving our karmas in life.

Pranic energy Ascending power of pure consciousness

Ome :

Energy of sound Creative power of knowledge and guidance

Aim

Solar energy Power of illumination and reflection

Hreem

Lunar energy Power of reflection and devotion

shreem

Electric energy Power of action, expression and transformation

Kreem

Magnetic energy Power of love and attraction

Kleem

Power of fire Power to purify, protect and remove negativity

Hreem

Power to stabilize Power to hold and conceive

Streem

Eight Prime Shakti Bija Mantras and their Corresponding Powers

Shakti mantras relate to the primary forms of the Goddess or Divine Mother. There are special Shakti mantras for each of the great Goddesses, through which we can commune with them and gain their grace. Shakti mantras are the primary mantras used in Tantric Yoga, in which they are combined in various ways to bring about different results. They have a great capacity for transformation that can extend to the deepest layers of our consciousness and prana. They should be approached with reverence and respect as the very life blood of the Goddess.

Most Shakti mantras contain the vowel– Ã , the vibratory ee-sound, which is the main primal sound of Shakti. Most contain the consonantR , which is the seed of fire, heaven, light, order and dharma and has a stimulating and energizing effect. Some contain the consonantL , which is the seed of earth, water, joy and bliss and has a calming and stabilizing effect. Many begin with either the letterH , which indicates prana, light and the Sun, or the letters S or Sh , which indicate the Moon, the mind and water. Some like Aim consist of vowels only.

Shakti mantras can be used to create, sustain or dissolve the various forms, patterns and forces within us. They have particular affinities with certain locations in the body and with specific chakras – like Hrãæ and the heart – but also have a broader effect to promote certain types of forces, like Hrãæ as solar energy that can be used on many different levels.

The application of Shakti mantras, like that of other mantras, depends upon the goals of life that we are using them to achieve (dharma, artha, kama, and moksha or career, wealth, enjoyment, or liberation), which gunas we are energizing them with (sattva, rajas, tamas, or the qualities of clarity, action or inertia), or their application through Yoga, Ayurveda, Vedic astrology or other disciplines. In this regard, the same Shakti mantra can be used in many different ways. Yet at the deepest level, Shakti mantras are meant to arouse and support the Yoga Shakti or inner power of Yoga within us.

For example, the mantra Írãæ at an outer level connects us to the abundance of our dharma and artha, our career and financial gains, and the fulfillment of our kama or desires. For Yoga practice, it grants devotion to the guru and the deity. In Ayurveda, it promotes healing, growth, and nourishment. In Vedic astrology, it is the mantra of the Moon and can be used for strengthening benefic Venus and Jupiter as well. In Vaastu, it promotes well-being, prosperity and happiness in the dwelling.

Used with a sattvic intention, hram has a nourishing and harmonizing force; with a rajasic intention, it has a power to promote outer development and achievement; and with a tamasic intention, it can gain a destructive or crushing capacity. At an outer Lakshmi (Goddess of Prosperity) level, hreem can grant us the abundance of the material world; while at an inner Lakshmi level, it can grant us the abundance of the spiritual life, which is devotion, bliss and the beauty of perception.

Ome is the prime mantra of the Purusha, the Cosmic Being, the Atman or higher Self. As such, it attunes us with our true nature and higher reality. Ome is the sound of Ishvara, the cosmic lord, the creator, preserver and destroyer of the universe, who is also the inner guru and prime teacher of Yoga. It reflects both the manifest and the unmanifest Brahman, sustaining the vibration of being, life and consciousness in all worlds and all creatures.

Generally, Ome is divided threefold as A , U and M, with A referring to creation, the waking state and Brahma, the creator; U as sustenance, the dream state and Vishnu the preserver; and M as dissolution, the deep sleep state and Shiva the transformer. More specifically, Ome relates to Shiva, the cosmic masculine force.

Ome serves to open and clear the mind for meditation. It brings about an ascension and expansion of our energy. It promotes the higher prana and inner light and takes us into the formless realm. It draws the sound current up the spine, through the chakras and out from the top of the head. Ome also means “yes” and is said to be the sound of assent. It

allows us to harmonize with the forces of the universe externally and with our own nature internally. It attunes us to the cosmic reality and the sacred vibratory patterns that arise from it.

Relative to Ayurvedic medicine,

Ome helps harmonize the body, prana, mind, and senses with the higher Self, Atman or Divine presence within. It connects us with the cosmic healing prana. It brings a deep healing energy into the subconscious mind to remove negative emotions, addictions and compulsions. Relative to Vedic astrology, Ome is the sound of the Sun and of the higher light behind all the stars and planets. In Vaastu, Ome can clear the energy in the home or dwelling and bring in Divine light, grace, and knowledge.

Relative to other mantras,ome is often used to begin them. It clears the mind for other mantras to work, opens us up to the higher consciousness, and brings a deeper prana into the mantra. Without first chanting ome , it is said that other mantras may not be effective. Whole Upanishads and entire books have been written about it.

Ome serves to open and clear the mind for meditation. It brings about an ascension and expansion of our energy.

Aim is also the mantra of the guru and helps us access all higher knowledge.

After Ome , Aim (pronounced “aym”) is the next most common bija mantra. Aim is the feminine counterpart of Ome and often follows Ome in various chants. Ome and Aim are the two main compound vowel mantras, A plus U making Ome (and Aim ) and A plus I making Aim . As such, together they comprehend all sounds.

As Ome is the unmanifest or expansive aspect of primal sound, Aim is the manifest or directed form. As Ome serves to clear the mental field, Aim helps us focus the mind and heart in a particular manner. As Ome is the word that is heard, Aim is the word that is seen. As Ome is the supreme Purusha or cosmic masculine force, Aim is Adya Shakti, the supreme Shakti or cosmic feminine force. That is why we find the mantra Aim in so many different mantras to the Goddess or Divine Mother.

More specifically, Aim is the seed mantra of Sarasvati, the Goddess of knowledge and speech, the consort of Lord Brahma, the Creator in the Hindu trinity of great Gods. As such, Aiæ aids us in learning, art,

expression and communication and is good for promoting learning and education generally.

Aiæ is also the mantra of the guru and helps us access all higher knowledge. It can be used to call or to invoke wisdom and understanding. It indicates motivation, direction and will-power. It can orient us toward whatever we are seeking. It increases concentration of mind and awakens our higher intelligence (Buddhi). Relative to other mantras, Aim is often used to direct our awareness or intention to the deity, to function as our call to draw in the higher knowledge so the mantra can work. In terms of Ayurveda, Aim strengthens the voice and the vocal chords. It helps open the lungs and clear the senses. Astrologically, Aim connects to the planet Mercury and to some extent the Moon, both planets that govern speech and expression. For Vaastu, Aim will bring creativity and learning into the dwelling, particularly for studies, libraries and classrooms.

Hreem is a mantra of magical force, captivation and empowerment

After Oæ and Aiæ , Hrãæ (pronounced “hreem”) is probably the most commonly used bija mantra. It is composed of the soundHa , which indicates prana, space and light, with the soundRa , which indicates fire, light and dharma, and the soundÃ, which indicates energy, focus and motivation.

Hrãæ is the prime mantra of the Goddess in all of her three main powers of creation, preservation and destruction, and so is the main Shakti mantra, with a more specific application than Aiæ . It is said to be the Shakti bija and to be equivalent to Oæ for the Goddess. More specifically, it relates to Parvati or Shakti, the consort of Shiva, who is the destroyer/transformer among the great trinity of deities.

Hrãæ is a mantra of magical force, captivation and empowerment. It can be used relative to any deity or object whose presence we wish to access at the level of the heart. It brings about joy, ecstasy and bliss. Hrãæ both purifies and exalts us in our inner quest, humbling us before the Divine power so that it can

enter into our hearts. Hrãæ is a specific mantra for the heart (hridaya in Sanskrit) on all levels, whether the spiritual heart, the heart chakra, the emotional heart or the heart as a physical organ. It energizes the heart, provides warmth, and allows for both deep feeling and deep thought.

In terms of Ayurveda,

Hrãæ can be used to counter heart disease of all types, aiding in longevity and rejuvenation. More specifically, it helps promote the pranic and functional aspect of the heart and with it the power of circulation of the blood, the lungs and the nervous system. It has generally Pitta (fiery) energy but some Vata (air) energy as well, stimulating the higher pranas and emotions. In terms of Vedic astrology, Hrãæ relates to the Sun, the planet of the heart, and helps promotes solar energy, expression and charisma.

Hrãæ is usually a soft mantra but can also be harsh. As a soft mantra, it increases the finer energies of the heart. As a harsh mantra, it can be used to hypnotize or captivate, to dissolve or to carry away.

Írãæ relates to the heart in its feeling aspect, whereas Hrãæ relates to the pranic or functional aspect of the heart.

Írãæ

Írãæ (pronounced “shreem”) is one of the most commonly used mantras because it is probably the most benefic of all sounds, drawing to us all that is good, helpful and promoting of positive growth and development. More specifically, Írãæ is the seed mantra of Lakshmi, the Goddess of prosperity and abundance, and the consort of Lord Vishnu, the preserver in the Hindu trinity of great Gods, and brings Lakshmi’s many blessings. Írãæ is also called “Rama bija” and is used in the worship of Lord Rama, the avatar of dharma.

Írãæ is the mantra of faith, devotion, refuge and surrender. It can be used to take refuge in or express devotion to any deity, helping us to gain its favor and grace. Írãæ relates to the heart in its feeling aspect, whereas Hrãæ relates to the pranic or functional aspect of the heart.

Írã

means splendor in

Sanskrit, like the beautiful light of the Moon. Írãæ is often used along with Hrãæ . As Hrãæ is solar, Írãæ is lunar. Írãæ relates to the Moon in Vedic astrology and promotes a kind of lunar energy, Soma and beauty overall. Yet it is also used for other benefic planets like Venus and Jupiter, promoting their positive energies.

Relative to Ayurveda, hreem is mainly a Kapha (watery and earthy) mantra for improving health, happiness, fertility, love and calmness of mind. Yet it does have some secondary Pitta (fire) qualities and improves our glow, luster and light. It is particularly important for women’s health and brings proper function and circulation to the female reproductive system. hreem has a soothing effect on the mind and emotions, allowing us to surrender to Divine grace and take refuge in the higher powers.

Kreem rules over all manifestation including time, space, and action (causation)

Krãæ (pronounced “kreem”) is the first and most important of the consonant mantras, the mantras that begin with a hard consonant rather than a vowel or sibilant. Krãæ begins with Ka , the first of the Sanskrit consonants that indicates manifest prana and the initial phase of energy. To this it adds the Ra -sound or seed of fire, the à -sound or focusing power as in the other Shakti mantras. It creates light and intention like Hrãæ and Írãæ but of a more specific, stimulating, and manifesting nature.

Krãæ relates to Vidyut Shakti or the basic electrical energy behind all things in the universe – the Kriya Shakti or power of action on all levels. Krãæ rules over all manifestation including time, space, and action (causation). Through it, we can gain control of our karmas and also move beyond them.

Krãæ is the seed mantra of Kali, the Goddess of time and transformation, the consort of Lord Shiva, the Destroyer/ Transformer in the Hindu trinity of great deities. Through it, we set Kali’s power in motion within us. It serves to energize things to the highest level, which is to raise their level of vibration to the point

where we can return to the source.

Kreem is a mantra of work, yoga and transformative energy, and is said to be Yoga bija or the “seed syllable of Yoga practice.” Its inner application is to awaken the Kundalini Shakti to merge our outer nature back into the higher Self. Kreem stimulates higher perception and higher prana, promoting the yogic process of Pratyahara (internalization of mind) and giving greater power to concentration, meditation and Samadhi. The mantra can connect us with the inner power of any deity we wish to connect to.

In terms of Ayurveda, Kreem combines Vata (wind, electrical) energy mantra with Pitta (fire) for an adrenaline type effect. It has a powerful electrical force and stimulates all the pranas and Agnis (biological fires), the circulatory and nervous systems, particularly the heart and the liver. In Vedic astrology, Kreem relates primarily to the planet Mars, which is the planet of work and effort. Kreem is generally a harsh or strong mantra, particularly as used with Hïm , and so should be recited with care

Kleem is not specifically an astrological mantra, but is sometimes used for Venus or the Moon.

Kleem (pronounced “kleem”) is the softer, watery or more feminine aspect of Kreem . As Kreem is electrical or projective, Kleem has a magnetic quality that draws things to us. It can also be used to hold or fix things in place.

Kleem carries the Akarshana Shakti or the “power of attraction.” It relates to Krishna, who grants bliss (Ananda) as a deity, and to Sundari, the Goddess of love and beauty. Kleem is the seed mantra of desire ( Kama Bija ) and helps us to achieve our true wishes in life . Kleem can be used relative to any deity we would like to access to fulfill our wishes. Kleem is the mantra of love and devotion, increasing the love energy within our hearts. For this reason, it is one of the most benefic mantras, and one of the safest and most widely used.

Relative to Ayurveda, Kleem

is mainly a Kapha (water)-promoting mantra and is particularly good for the reproductive system and for the plasma and skin. It promotes Kledaka Kapha (the digestive fluids of the stomach), increasing our capacity for nourishment. Most importantly, it is specific for Tarpaka Kapha, the Soma of the brain that promotes well-being, soothing the nerves and calming the heart. It strengthens the immune system and brings contentment to the entire being. Kleem is not specifically an astrological mantra, but is sometimes used for Venus or the Moon. For Vaastu, it can bring the energy of Divine love and beauty into the dwelling.

Kleem can have a harsh side as well. It can be used to fix, to stop or to nail down, or to hold things under the power of wishes, though such usage is not as common as its benefic application.

Streem is the seed mantra of the Hindu Goddess Tara

Strãæ (pronounced “streem”) contains the

Sa -sound of stability,

the Ta -sound which gives extension, and the à -vowel that provides energy, direction and motivation. It is connected to root meanings such as to stand, to spread, to take a step, to rise or traverse from one level to another. It brings about an expansion and spreading of energy that can follow a horizontal expansion, a vertical ascent, or a spiral movement.

Strãæ is said to be Shanti bija or the “seed syllable of peace” and carries the Shakti of Sat or Pure being. Strã i n Sanskrit also means a woman. The mantra Strãæ provides the power of the Divine feminine (Stri-Shakti) to give birth, to nourish, to protect and to guide. It is similar to Írãæ in sound qualities but stronger and more stabilizing in its effects. It can be used to increase Shakti or feminine energy in oneself or in one’s outer activity.

Strãæ is another general mantra of the Goddess, particularly in her higher knowledge form. Strãæ can be used relative to any deity whose energy we wish to expand or project in a creative manner. It grants poetic and artistic powers, as well as powers of argument, debate and law.

Strãæ is the seed mantra of the Hindu Goddess Tara (not the

Buddhist Tara, who is a different deity approached with different mantras). Hindu Tara is connected to Durga, who is often called Durga-Tara, as a protective and fiery form of the Goddess. She is the high priestess and represents the inner knowledge and the insight of the guru, particularly the power of the Word. Tara controls the weapons of the Gods, particularly the Trishula or trident of Lord Shiva. Tara also relates to the mantra Ome, and Streem is the means through which Ome takes us across all difficulties.

Tara in astrological symbolism is the wife or feminine form of Brihaspati, the planet Jupiter. She is the great star Goddess associated with the star Aldeberan (the Vedic star Rohini), the bright red star of the constellation Taurus. As Brihaspati/ Jupiter is the high priest or guru of the Gods, Tara is the high priestess of the heavens. Streem as the mantra of the Star Goddess attunes us to the benefic powers of the stars and Nakshatras and gives us astrological knowledge.

In terms of Ayurveda, Streem is important as a healing and empowering mantra for women, and can aid in childbirth and can promote women’s health generally, strengthening the heart, reproductive system, circulatory system and bones.

Hum with a long vowel sound has a similar meaning but a more feminine and Shakti quality.

Hum (pronounced “hoom”) is one of the most important Sanskrit mantras along with Ome , Aiæ and Hreem . It is said to be the Pranava or primal sound of Lord Shiva, the transformative aspect of the Divine Trinity.

Hum is the main Agni or fire mantra and can help enkindle fire in all of its forms from the digestive fire to the Pranic fire to the fire of the consciousness. It refers to a gaseous type of fire and so can be connected with lightning and to the power of prana and the breath. Hum is also a weapon and protection mantra and can be used to destroy negativity with its lightning fire. It can be used to direct a fiery explosive energy with other mantras. It is also called Krodha bija or the “seed sound of wrath.” It is the mantra that Lord Shiva uses to project the fire from his third eye that destroys all negativity and burns up all desires.

Hum with a long vowel sound has a similar meaning but a more feminine and Shakti quality. It relates to fierce forms of the Goddess like Kali, Chandi and Chhinnamasta. It has the power to cut off and indicates the sword. However, Hum has a soft potential as well. It is said to

be the Dhenu bija, the “seed sound of the Mother cow,” calling its calf back to it. It calls out and invokes, while at the same time challenging and warding off. Hïæ is used specifically for raising the Kundalini, particularly combining the mantra with the breath, and the fixing of the gaze at the navel, the seat of the digestive fire.

Relative to Ayurveda, Hum increases Prana, Tejas and Pitta, setting all our fiery energies in motion from the digestive fire to the fire of the mind. Both strengthen the immune system particularly against any active pathogenic attacks, but as harsh mantras require some care in application.

Astrologically, Hum relates to fiery planets like the Sun, Mars or Ketu and increase their fiery properties. They are particularly good for bringing in the higher perceptive power of Ketu, which is a great aid in astrological research, spiritual healing and Yoga. Relative to Vaastu, they can be used to create a protective energy shield around one’s dwelling.

A single Shakti mantra can be used as a meditation mantra in order to draw the mind into deep awareness. One repeats the mantra prior to meditation to bring the mind into a meditative state. Then one keeps the mantra going in the back of the mind as long as the meditation proceeds, to help sustain the process. Several Shakti bija mantras can also be used together as meditation mantras, often in groups of three to seven bijas.

Shakti mantras can function as names of deities to invoke them, like Oæ and Shiva , or Aiæ and Sarasvati. But they are more commonly used in conjunction with Divine names, like Oæ Aiæ Sarasvatyai Namah!

Shakti mantras reflect various types of invocation. For example, Ome Aim Hreem shreem, means Ome; I invoke (Aim); open my heart to (Hrim); and take refuge in (shrim). Or ome Krim Hum Hrim means Ome; I energize (Krim); enkindle (Hum); and open my heart (Hreem). In conclusion, Shakti mantras allow us to energize our thoughts and feelings at a deeper level with the force of higher awareness.

unlocking the secrets of how these sacred sounds work and how they affect our energy field for both body and mind.

Please use these mantras with respect and a sense of their sacred power, along with your meditation, honoring the deity within. Generally, seed mantras are repeated numerous times in a series of continuous meditation sittings to reach the number of 100,000, which is the amount usually required to awaken their energy and draw it deep into our psyche. Then they can be repeated regularly as needed, even off and on during the day, to help us maintain calm and focus of the mind, or to direct us towards the particular goal that we are seeking through repeating the mantra.

Many people use seed mantras as their main mantra for meditation (TM mantras are usually based upon Shakti mantras, for example), also referred to as “primal sound” or “mantra meditation.” They repeat their special mantra before meditation to take the mind more quickly into the meditative state. Shakti mantras have a powerful effect by their sound alone, which is pranic in nature and helps decondition the mind, even if one does not understand their meaning. They are easy to pronounce as they consist of one syllable only! You can choose one of these mantras as your meditation mantra, repeating it silently for at least fifteen minutes or around a thousand times before meditation.

Another method is to let the mantra reverberate along with the breath. You can draw in the Shakti of the mantra on inhalation like Hrãæ as the solar energy or pure light of awareness, and spread its energy throughout your being or into your environment upon exhalation. When mantra and prana become one, both are brought to a higher level of power and function. One can direct the mantra along with the breath to whatever part of the body one wishes to be healed or strengthened, or send it as a healing force for the benefit of others.

Bija mantras can be used along with Divine names, like Ome Hreem Suryaya Namah! for honoring the solar deity Surya. They can be used in combinations for different deities or aspects of the Divine, like Kreem Hum Hrim for Ma Kali. There are many such mantric formulas in Sanskrit literature and Hindu devotional worship. However, deeper applications and complex combinations of Shakti mantras may require direct instruction from a teacher who knows how to adapt these mantras on an individual basis. This is the same as for any other Yoga practice.

Shakti mantras can be used to create, sustain or dissolve the various forms, patterns and forces within us. They have particular affinities with certain locations in the body and with specific chakras – like Hrãæ and the heart – but also have a broader effect to promote certain types of forces, like Hrãæ as solar energy that can be used on many different levels.

The application of Shakti mantras, like that of other mantras, depends upon the goals of life that we are using them to achieve (dharma, artha, kama, and moksha or career, wealth, enjoyment, or liberation), which gunas we are energizing them with (sattva, rajas, tamas, or the qualities of clarity, action or inertia), or their application through Yoga, Ayurveda, Vedic astrology or other disciplines. In this regard, the same Shakti mantra can be used in many different ways. Yet at the deepest level, Shakti mantras are meant to arouse and support the Yoga Shakti or inner power of Yoga within us.

For example, the mantra Írãæ at an outer level connects us to the abundance of our dharma and artha, our career and financial gains, and the fulfillment of our kama or desires. For Yoga practice, it grants devotion to the guru and the deity. In Ayurveda, it promotes healing, growth, and nourishment. In Vedic astrology, it is the mantra of the Moon and can be used for strengthening benefic Venus and Jupiter as well. In Vaastu, it promotes well-being, prosperity and happiness in the dwelling.

Used with a sattvic intention, srim has a nourishing and harmonizing force; with a rajasic intention, it has a power to promote outer development and achievement; and with a tamasic intention, it can gain a destructive or crushing capacity. At an outer Lakshmi (Goddess of Prosperity) level, srim can grant us the abundance of the material world; while at an inner Lakshmi level, it can grant us the abundance of the spiritual life, which is devotion, bliss and the beauty of perception.

All of these texts have been taken as it is reason being I never wanted to faulter on the true meaning and its importance as these are being dealt with the beejaksharas and in case I give a wrong meaning this could lead to the false meaning to the readers where they might get misguided thus I had to take the true application and true meaning of the beejaksharas from the original texts.

How to Sound the Bija Mantras for the Chakras

“With the syllable Aum as their sole support, the wise person attains that which is peaceful, unageing, deathless, fearless - the Supreme.” - Atharva Veda, Prasna Upanishad 5.7.

The Yogatattva Upanishad (slokas 83–101) states that the five lower chakras are related to the five elements. There are said to be five great elements (bhutas) that make up the world; earth (prithivi), water (apas/jala), fire (tejas/agni), air (vayu) and ether (akasha).

Each element has a bija mantra associated with it, when this mantra is sounded it resonates in the chakra and purifies the nadis (subtle channels of energy). The nadis link the higher spiritual aspects of our being with our mind, emotions and our body.

The third eye chakra is created from ‘Mahattva’, the great or supreme element out of which all the other elements are formed. The bija mantra for the Third Eye Chakra is AUM.

The Crown Chakra is beyond all elements and contains all sounds. The mantra AUM is generally used for this chakra as AUM is the source of all sounds and is the primal cosmic sound Anahata Nada.

LAM for Muladhara the Base Chakra - Earth Element - Dental Position VAM for Swadhisthana the Sacral Chakra - Water Element - Labial Position RAM for Manipura the Solar Plexus Chakra - Fire Element - Cerebral Position YAM for Anahata the Heart Chakra - Air Element - Palatal Position HAM for Vishuddha the Throat Chakra - Akasha Element - Guttural Position AUM for Ajna the Third Eye Chakra - Mahatattva AUM for Sahasrara the Crown Chakra

The bija mantras for the chakras are formed from the semi-vowels of the Sanskrit alphabet YA, RA, LA, VA. They are called ‘antahstha’ or intermediate sounds in Sanskrit.

David Frawley says – “Intermediating between vowels and consonants in their energetic quality, semi-vowels reflect prana or energy that mediates between the formless realm and the realm of form.”

“These Prana mantras are employed in ‘Prana-Pratishta’ a ritual performed in Hindu temples in order to bring the actual spirit of the deity into the object of worship.”

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Sanskrit Alphabet The semi-vowels are produced using the five tongue positions used in the Sanskrit Alphabet. As we sound the bija mantras the five different tongue positions stimulate the five elements balancing the chakras.

In yogic philosophy it is said that there are 72,000 nadis (subtle energy channels) in the body. When we chant in Sanskrit we are stimulating the 84 reflex points in the mouth. There are said to 64 reflex points in the hard palate and 20 in the soft palate, and these reflex points relate to the various nadis. When we chant in Sanskrit we awaken dormant parts of the brain and circulate energy through the body.

1. Guttural – The sound comes from the back of the throat. The back of the tongue is placed against the lower soft palate (this tongue position is also called Velar).

2. Cerebral – The tip of the tongue touches the roof of the mouth (this tongue position is also called Retroflex or Lingual).

3. Palatal – The tongue is placed flatly against the upper soft palate.

4. Dental – The tongue is placed behind the upper teeth.

5. Labial – The sound is made by the lips (this tongue position is also called Glottal).

Each of the semivowels has a different point of pronunciation: YA uses the hard palate, RA is a retroflex consonant, and LA uses the teeth. VA mainly uses the lips, but it also requires the use of the teeth. VA is halfway between the English "va" and "wa." The sound HA comes from the back of the throat.

Harish Johari says that the addition of the NG sound to the semi-vowels of the Sanskrit alphabet turns them into bija mantras. The NG sounds are nasal, like the elephant’s sound, Nishad or Ni (one of the notes of the Indian Scale), that is produced by its trunk rather than its vocal chords.

The nasal sounds are said to move energy upward to vibrate the outermost brain cortex where impressions are stored. The bija mantras carry the wisdom and knowledge that brings liberation from the cycle of birth and death.

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Bija Mantras Each element is associated with a different symbol/shape. Visualising this symbol/shape helps to deepen our connection with the element.

LAM – Base Chakra Visualise a square shape in the base chakra. The bija mantra (seed sound) for this chakra is LAM sounded as LANG. The ‘L’ sound in the bija mantra LANG is produced by placing the tongue behind the upper teeth. The mantra is made up of two sounds that are roughly equal in length LA and NG. The duration of the two sounds is the same for all the bija mantras

The NG sound is produced with a nasal intonation creating a resonant humming sound half way between an ‘M’ and a ‘N’. The mantra LANG is focused in the base chakra.

VAM – Sacral Chakra Visualise a circular shape in the sacral chakra. The bija mantra for this chakra is VAM sounded as VANG. The ‘V’ sound in the bija mantra is VANG produced by the lips as though making a ‘FF’ sound before the VA. The mantra VANG is focused in the sacral chakra.

RAM – Solar Plexus Chakra Visualise a triangular shape in the solar plexus chakra. The bija mantra for this chakra is RAM sounded as RANG. The ‘R’ sound in the bija mantra RANG is produced with the tip of the tongue curling up to touch the roof of the mouth.

The main point of concentration when producing this seed sound is on the third chakra. The sound originates from the navel when repeated in a proper manner.

YAM – Heart Chakra Visualise a six-pointed star in the heart chakra. The bija mantra for this chakra is YAM sounded as YANG. The ‘Y’ sound in the bija mantra YANG is produced with the tongue pressed against the soft palate at the front of the roof of the mouth. The mantra is focused in the heart chakra.

HAM – Throat Chakra Visualise a crescent shape in the throat chakra. The bija mantra for this chakra is HAM sounded as HANG. The ‘H’ sound in the bija mantra HANG is produced at the back of the throat. The mantra is focused in the throat chakra.

AUM – Third Eye Chakra Visualise a circle with two petals on either side. The bija mantra AUM is created from three sounds, A, U and M. The mantra AUM is focused in the third eye chakra.

AUM – Crown Chakra The sounds associated with this chakra are all the vowels and consonants of the Sanskrit alphabet. The mantra AUM can be used for this chakra as it contains all the sounds of the Sanskrit alphabet. The bija mantra AUM is sounded in the crown chakra.

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References

David Frawley - Inner Tantric Yoga: Working with the Universal Shakti - Inner Lotus Press, September 2008

Johari, H. Chakras - Energy Centers of Transformation - Destiny Books, Rochester, NY, 2000.

Learn Sanskrit http://www.learnsanskrit.org/sounds/consonants/other

Discover Sanskrit http://sanskrit.farfromreal.com/index.php?x=writ_alpha

Mantra Science - Viriam Kaur http://www.worldyoganetwork.com/articles/making-sounds-2-science-mantra

Yoga Tattva Upanishad http://www.celextel.org/108upanishads/yogatattva.html

The bija mantras for the elements were first mentioned in the Jabala Darsana Upanishad which was written between 200BC and 200AD.

“Sage, also it is necessary to chant the pancha bhootha mantras (mantras of the five elements) viz., Ham, Yam, Ram, Vam and Lam. It is said that this very great Dharana (practice) destroys all sins.”

Five Elements The five elements evolve from the five tanamatras (principals); earth from gandha (smell), water from rasa (taste), fire from rupa (sight), air from sparsha (touch) and akasha from shabda (hearing).

When sounding the bija mantras for the chakras we are connecting with the different elements. The connection with the element is created by the tongue position in the mouth and by visualising the shape of the element when sounding the mantra.

Concentrate on visualising the shape of the mouth and tongue rather than trying to form the shape with your mouth.

Harish Johari says that the addition of the NG sound to the semi-vowels of the Sanskrit alphabet turns them into bija mantras. The NG sounds are nasal, like the elephant’s sound, Nishad or Ni (one of the notes of the Indian Scale), that are produced by its trunk rather than its vocal chords.

The nasal sounds move energy upward to vibrate the outermost brain cortex where impressions are stored, which carry the wisdom and knowledge that bring liberation from the cycle of birth and death.

Muladhara Chakra – Earth

The word of Muladhara comes from ‘mula’ meaning ‘root’ and ‘adhara’ meaning ‘foundation or base’; therefore the Muladhara Chakra is the basic foundation of the seven chakras.

The element associated with the Muladhara Chakra is Earth. The square is the symbol for Earth. It represents the four directions and the four dimensions.

The Earth element is the densest of all the elements. It gives stability and strength. The sense of smell is related to the element of earth and the nose is the sense organ of this chakra. The Earth element is the foundation of the body, the bones, flesh, skin and body hair.

The bija mantra (seed sound) for this chakra is LAM sounded as LANG. The ‘L’ sound in the bija mantra LANG is produced by placing the tongue behind the upper teeth. The mantra is made up of two sounds that are roughly equal in length LA and NG. The duration for the two sounds is the same for all the bija mantras

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The NG this sound is produced with a nasal intonation creating a resonant humming sound half way between an ‘M’ and a ‘N’. The mantra LANG is focused in the base chakra.

When properly produced, the sound LANG excites the nadis (subtle channels of energy) in the first chakra and creates a lock that prevents the downward movement of energy. LA is the sound for the earth element and NG is nada-bindu, the primal cosmic sound from which the universe manifested.

The upward movement of energy starts when the sound ANG, vibrates in the head. Sounding the bija mantra LANG takes away the insecurities associated with the first chakra.

Repetition of the bija manta LANG deepens concentration, giving awareness and inner strength. Its vibrations create a passage inside the Brahma Nadi. Brahma Nadi, is the subtle channel through which the Kundalini, when awakened moves from Muladhara to Sahasrara Chakra.

LANG is connected with the element of earth and its presiding deity Indra. Sounding LANG arouses the power of Indra the King of the Devas and Lord of Heaven.

Within the sushumna (central energy channel) there are three granthis or knots that prevent the upward movement of the Kundalini Shakti.

• The Brahma Granthi (located in the Muladhara Chakra) is related to the physical body, to the world of names and forms. • Vishnu Granthi (located between the Manipura and the Anahata Chakra) is related to the astral body and to the world of emotions. • Rudra Granthi (located at the Ajna Chakra) is related to the causal body and to the world of thought, ideas, visions and intuition.

Johari says that the first knot, Brahma Granthi, is found in the Manipura Chakra but most other sources place it in the Muladhara Chakra. Brahma Granthi ties the awareness to sensual perception and the physical world.

Svadhishthana Chakra - Water

Swadhisthana means 'One's Own Abode' or “Sacred Home of the Self.”

The shape associated with this element is the circle, which represents the element water. Water droplets are spherical.

Water is the essence of life. Almost three quarters of the human body is water, which is present in blood, mucous, urine, saliva, lymph and other fluids.

The water element evolved from the rasa tanmatra (taste principal), which is why the tongue is its sense organ.

The bija mantra for this chakra is VAM sounded as VANG. The ‘V’ sound in the bija mantra is VANG produced by the lips as though making a ‘FF’ sound before the VA.

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The mantra VANG is focused in the sacral chakra. If produced properly, the sound of this bija mantra will influence the flow of prana in the Svadhishtana Chakra.

When the bija mantra VANG is repeated it enhances the production and circulation of fluids in the body.

The power of Varuna, an aspect of Vishnu (the sustainer of creation) is present in the bija mantra VANG. In Hindu mythology, Varuna is considered the god of all forms of the water element, particularly the oceans.

When the bija mantra VANG is repeated the Svadhishtana Chakra is purified. Sounding VANG clears away many blocks in the lower regions of the body.

Manipura Chakra – Fire

Manipura is derived from two words ‘mani’ meaning 'jewel' and ‘pura’ meaning 'city'. Therefore literally Manipura means 'city of jewels'.

The Manipura Chakra is considered to be the centre of dynamism, energy, willpower and achievement, which radiates prana throughout the entire human body. It is associated with the power of fire, and digestion. It is also associated with the sense of sight,

The triangle is the symbol of the fire element. Visualisation of a triangle of bright red colour in the Manipura Chakra helps the aspirant in his/her spiritual evolution.

The fire element consists of both heat and light energy, but heat is dominant. The fire element is related to the sun, the ruling planet of this chakra. The sun is the source of life in the solar system, and the navel represents the source of life in the body.

The fire element in the navel region aids in the digestion and absorption of food, which supplies the whole body with vital energy. The fire element is related to hunger, thirst, sleep, lethargy and radiance (ojas). The fire element is purifying and nourishing, yet it can also be destructive when out of control.

The bija mantra for this chakra is RAM sounded as RANG. The ‘R’ sound in the bija mantra RANG is produced with the tip of the tongue curling up to touch the roof of the mouth.

The main point of concentration when producing this seed sound is on the third chakra. The sound originates from the navel when repeated in a proper manner.

The sound RANG increases the digestive fire, which enhances assimilation and absorption. It contributes to longevity, the main goal of a person motivated by this chakra. The nature of fire is to move upwards and the repetition of this mantra, when produced properly helps the upward movement of the Kundalini.

Agni is the god of fire and the acceptor of sacrifices. The ram is the vehicle of Agni. The ram is the carrier of the bija mantra RAM.

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Anahata Chakra – Air

In Sanskrit the word ‘anahata’ - means unbroken, unstruck and unbeaten. Anahata Nad refers to the Vedic concept of unstruck sound, the sound of the celestial realm.

The Anahata Chakra is said to be located near the region of the heart. Because of its association with touch, it is associated with the skin and with the hands.

The Anahata Chakra is associated with the six-pointed star, which is made up of two triangles. The one pointing upwards symbolises Shiva, the male principal. The other triangle points downward symbolising Shakti, the female principal.

The six-pointed star represents the balance that is attained when these principals are joined in harmony.

The six-pointed star also symbolises the balancing of energy in the Heart chakra, which lies between the three chakras above it and the three chakras below it. The Anahata Chakra is associated with love and the desire for sharing and sympathy. Here energy can move upward or downward.

The element associated with the Anahata Chakra is vayu (air or wind). Vayu is the vital life-giving force (prana). It aids the functions of the lungs and heart, circulating fresh oxygen and vital energy. Air is formless and colourless, without smell or taste.

The bija mantra for this chakra is YAM sounded as YANG. The ‘Y’ sound in the bija mantra YANG is produced with the tongue pressed against the soft palate at the front of the roof of the mouth. The mantra is focused in the heart chakra.

When this sound is produced properly the spiritual heart vibrates and any blocks in the cardiac region are cleared. True knowledge dawns in the consciousness and the second knot, the Vishnu Granthi, is undone, allowing energy to start to flow upward.

Sounding the bija mantra YANG gives one control over air, prana and the breath. The bija mantra YANG is the sound form of the deity Vayu, the lord of the air/wind.

Vishuddha Chakra – Akasha

In Sanskrit the word ‘Shuddha’ or ‘Shuddhi’ means pure. The pure can never be tainted. Pure in this sense is beyond good or bad, right or wrong, clean or dirty. Vishuddha means “absolutely pure”.

The Vishuddha Chakra is associated with the element akasha (ether) and the sense of hearing, as well as the action of speaking.

The symbol for this chakra is the crescent. The sliver crescent is the symbol of nada, pure cosmic sound. The moon implies psychic energy, clairvoyance and communication without words.

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Thus the void (akasha) is inside of the pure essence (tanmatra) of sound (nada). The crescent is the symbol of purity and akasha is the purest of all the elements. Purification is a vital aspect of the Vishuddha Chakra, as is pure knowledge.

At the Vishuddha Chakra, the aspirant gets a vision of the void (akasha), which is translated as space. Akasha is generated by the principal (tanmatra) of sound.

In the Vishuddha Chakra all the elements of the lower chakras are refined to their purest essence and dissolved in akasha, depicted by the circle and crescent.

The influence of the five elements ceases after the fifth chakra and the aspirant becomes a tattvatit, one who has gone beyond the grip of the elements.

The bija mantra for this chakra is HAM sounded as HANG. The ‘H’ sound in the bija mantra HANG is produced at the back of the throat. The mantra is focused in the throat chakra.

When this sound is produced properly. It vibrates the brain and causes the cerebrospinal fluid to flow more freely in the throat region, bringing sweet and melodious qualities to the voice.

Ajna Chakra - Mahatattva

Ajna means meaning 'command' or 'summoning'. Those who reach this chakra eradicate all of their sins and impurities and prepare to enter the seventh door, beyond Ajna Chakra.

The symbol for this chakra is the circle with two petals on either side.

A person who has reached this level of awareness has a body that constantly radiates the sound AUM. The aura of such persons enables all those who come into their presence to become calm and sensitive to the refined sound frequencies of AUM.

The five great elements (mahabhutas) – earth, water, air, fire and akasha evolve from mahatattva, the supreme or great element in which all other elements are present in their pure essence. The bija mantra for this chakra is AUM.

The bija mantra AUM is created from three sounds, A, U and M. The mantra AUM is focused in the third eye chakra.

The pravana, AUM, is the source of all sounds and is connected with anahata nada, the primal cosmic sound. It thus creates unity and is a combination of sun (A), moon (U), and fire (M).

The third eye plays an important role in the piercing of the third knot, Rudra Granthi. When Rudra Granthi is pierced, individuality is dropped, the old ego awareness is left behind and the experience of unmanifest consciousness emerges at the Sahasrara Chakra.

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Sahasrara Chakra

In Sanskrit the word ‘Sahasrara’, means thousand, so the Sahasrara Chakra is the ‘Lotus of the Thousand Petals’ and is located four finger-breadths above the crown of the head.

When the Kundalini is raised up to the Sahasrara Chakra, the illusion of the ‘individual self’ is dissolved. According to the scriptures, the Sahasrara Chakra is the seat of the self-luminous Self, the essence of being.

The sounds associated with this chakra are all sounds from AH to KSHA, including all the vowels and consonants of the Sanskrit alphabet. AUM can be used for this chakra as it contains all the sounds of the Sanskrit alphabet.

The bija mantra AUM is sounded in the crown chakra.

References

Most of the information in the article comes from the book ‘Chakras – Energy Centres of Transformation’ by Harish Johari - Destiny Books, Rochester, NY, 2000.

Jabala Darsana Upanishad http://www.arunachala-ramana.org/upanishads/jabala_darsana_upanishad.htm

Yoginis “Sixty and four are the instruments of enjoyments that tempt the individual soul (jiva). Sixty and four are the divisions (kalas) within jiva; Sixty and four are the chambers of jiva’s chakras; Sixty and four; where Shiva-Shakti are.” Thirumandiram V. 1418 In very ancient days, eight great Female Goddesses Shaktis emerged from the cosmic soul of the Principle Dieties and formed Kali Durga, the Universal Shakti Power, These were the grand Mothers (Ashta Matrikas) of all subsequent Yoginis. According to Kaula Tantra, these eight manifested each in turn into eight Divine Shaktis, thus resulting in the 64 Tantric Yoginis. Eight Great Mothers (Ashta Matrikas), Halebid, Karnataka An examination of the ancient Tantric tradition reveals a particular sanctity assigned to the number eight. The eight mother faculties (tatvas) of the manifested universe, the eight directions with four cardinal and four intermediate points (digbandahs), the eight miraculous yogic powers (siddhis), eight "limbs" of Yoga (astanga) eight forms of the Divine Mother (matrikas) and eight primary mystic symbols (mudras) are just a few examples. The square of eight, or sixty-four, occupies an even more profound position in the field of Tantra which, from the point of view of the practitioner, first and foremost identifies the sixty-four Tantric Yoginis. The Matrikas are found in inscriptions uncovered from the Indus Valley Civilization of 5000 years ago. “O Great Ones, if I am known, what need is there for pilgrimage, austerities and even sadhana itself? If I am revealed, of what use is puja, tantra, kriya, yoga and the revealed texts? My mystery is grand and broad and expansive beyond the consciousness of humanity, yet I am ever accessible as the cosmic lover beyond the thinking mind and it is I who is the source of the Peace, Light, Love, and Power that are all the hallmarks of my essence. I am the polarities and the forces of creation, the Divine feminine in union with her Lord. Manifesting in both celestial and terrestrial planes, pretending to be limited as a human incarnation, I become intoxicated with all aspects of life, in order to know Shiva as my intimate lover, with whom I always seek oneness. I take on human incarnation in order that all of his less conscious manifestations might discover their divinity though relationship with me. In doing so I provide an avenue for humanity to taste the nectar of immortality through my Kaula Tantra. Even given this, my true nature still remains secret. I live hidden in the bodies of human lovers, promoting the elevation of consciousness for those who seek it through me.” Chatuhsasthi Yogini Mantra 64 Kali Yogini Namavali Recitation of the following sacred mantras will bring about transformation of consciousness and a closer personal relationship with the aspects of Maha Kali. Each Mantra is preceeded by "Om" and is concluded with "Svahaa". 1. Kali Nitya Siddhamata Mother of the Siddhas 2. Kapalini Nagalakshmi Lakshmi of Naga 3. Kula Devi Svarnadeha Of golden body 4. Kurukulla Rasanatha Ruler of physical pleasure 5. Virodhini Vilasini Residing within Self 6. Vipracitta Rakta Priya Who loves passion 7. Ugra Rakta Bhoga Rupa Enjoyer of passion in the form 8. Ugraprabha Sukranatha Ruler of the seminal essence 9. Dipa Muktih Rakta Deha Liberation through the body of passion 10. Nila Bhukti Rakta Sparsha Who receives pleasure from the touch of passion 11. Ghana MahaJagadamba Great Mother of the world 12. Balaka Kama Sevita Attended by the God of Love 13. Matra Devi Atma Vidya The Goddess with knowledge of Self 14. Mudra Poorna Rajatkripa Who completely radiates compassion 15. Mita Tantra Kaula Diksha Initiatress of the Tantric Kaula Path 16. Maha Kali Siddhesvari Queen of the Siddhas 17. Kameshvari Sarvashakti Shakti of All 18. Bhagamalini Tarini Who delivers from calamity 19. Nityaklinna Tantraprita Fond of Tantra 20. Bherunda Tatva Uttama Essence of Sexual Fluid 21. Vahnivasini Sasini Radiance of the moon 22. Mahavajreshvari Rakta Devi Senuous Goddess 23. Shivaduti Adi Shakti Origional Feminie Energy 24. Tvarita Urdvaretada Giver of the Upward Ecstasy 25. Kulasundari Kamini Desire Itself 26. Nitya Jnana Svarupini The Great form of Wisdom 27. Nilapataka Siddhida Giver of perfection 28. Vijaya Devi Vasuda Goddess who is Giver of wealth 29. Sarvamangala Tantrada Who Bestows Tantra 30. Jvalamalini Nagini Snake Goddess 31. Chitra Devi Rakta Puja Goddess who is worshipped with passion 32. Lalita Kanya Sukrada Pure Maiden 33. Dakini Madasalini Shining with rapture 34. Rakini Papa Rasini Destroyer of sin 35. Lakini Sarvatantresi Ruler of all tantras 36. Kakini Naganartaki Who dances with Nagaraj 37. Sakini Mitrarupini Friend 38. Hakini Manoharini Mind Stealer 39. Tara Yoga Rakta Poorna Who in union bestows complete passion 40. Shodashi Latika Devi Creeper Goddess 41. Bhuvaneshwari Mantrini Energy of all mantras 42. Chinamasta Yoni Vega With dripping yoni 43. Bhairavi Satya Sukrini Supreme Purity 44. Dhumavati Kundalini Primordial energy of self 45. Bagla Muki Guru Moorthi Form of the guru 46. Matangi Kanta Yuvati Youthful beauty enhanced by Love 47. Kamala Sukla Samsthita Residing in the Semen 48. Prakriti Brahmandri Devi Goddess residing in the crown 49. Gayatri Nitya Chitrini Eternal core of the energy of Self 50. Mohini Matta Yogini Intoxicated 51. Saraswathi Svarga Devi Goddess of Heaven 52. Annapoorni Shiva Samgi With Shiva 53. Narasimhi Vamadevi Beloved Goddess 54. Ganga Yoni Svarupini Energy of the Yoni 55. Aprajita Samaptida Who Bestows Orgasm 56. Camunda Parianganatha Ruler of sacred erection 57. Varahi Satya Ekakini Oneness of Truth 58. Kaumari Kriya Shaktini Energy of dedicated action 59. Indrani Mukti Niyantri Guide to bliss 60. Brahmani Ananda Moorthi Image of bliss 61. Vaishnavi Satya Rupini Form of truth 62. Mahesvari Para Shakti Transcendental energy 63. Lakshmi Monoramayoni With beautiful yoni 64. Durga Satchitananda Truth consciousness and bliss

So far I was talking about the beejaksharas and its importance in the music. How it holds the strength in the song which is what is called shruthi/laya/jathi/gathis which is full combination of the poetic version couples with the music instruments. The radiations or energy that is generated due to the presence of the aksharas. Then as talking about the hasta mudrikas which is a part tatva gnana Shastra where we have verses like tat/tatga/dheem.

All in all if you observe here the individual is a single entity who will be in a virtual universe where, there is a platform where the cosmos is created and our body is acting according to the force that is generated due to all of these ingrediants which is what is ehamu. Paramu is the area that is being created an individual tends to takes the incarnation of Shakta and starts to manifest himself or herself to do the actions. Then start performing where by the shakthi takes the invocation by way of mudras and mudrikas. Now without Shakta ther eis shakthi and without sekthi there is no Shakta. Both of these are interrelated. This is what is the union of both the souls and this is what is called ardhanarishwara swaroopa.

Coming to the ardhanarishwara swaroopa here all the forces come together and form a basic structure which is what is called akara roopa or akara roopa tatva as per the tatva gnana theory.

Now we need to talk about the ukara which is what is trying to be in union with the cestial bodies and trying to establish connections. So that the jeevatma gets to meanifest himself or herself in cosmos which is far beyond trillions and millions lights years and travels at such a speed that the real and unreal nature of the tatava gnana gets explored. This is what akara swaroopa of the god. This is what is called the getting united with the universe and your conscious mind gets to set atone itself to the micocosmos. The moment this is happening, this is where subconscious mind sets itself to explode with paramatma, this is what is called super subconscious mind where an individual touches the phase where brahmarandra gets activated and the state of mind gets calm, this is the supreme self state where the individual comes to a stand still position and thus ensures that he or she attains that single minded ness which only few of the saints could attain like brahmrishis and saints Ramakrishna paramahansa who attained this through para vidya practicing all kinds of yogas. Now one may ask why then dance came into existence, this is the one of the easiest way to get to this state of mind through the hasta mudrikas and other various ways.

Though apara vidya sadhana is one of the ways to get this state of mind.

That is reason why all along the chapters, I have been emphasizing on the srividya sadhana. The dancer is virtually the sri vidya upasaka who, with his sadhana takes this form in nine layers and finally touching the brahmanadi which is the super subconscious state of mind.

In the process ida/pingala/shismna nadi is activated. Then it reached the head portion which is what is called pindada and brahmanda state of mind which is the part of the brain child with left and right sides respectively. Thus all of these starts to act. Thus takes the shiva swaroopa. Thus this is what is called shivoham. The individual in all the course of time tends to take the form aham brahmasmi where the individual is travelling the brahmanda and trying to appease the celestial bodies by way of the gestures and then trevelling to the central point which is what is called bindu that is the central point. This is the state one has to reach.

In the end every one goal is to attain this state which very few of us reach to this state of mind.

Now one might ask is so much exercise necessary to get to this state of mind. Yes this is what is called the purification of the mind.

This is like when a child is born he first plays with his legs on the bed upside down, then falls straight then crawls then takes lot of hittings like falling when walking which pains the child. Thus in similar way if we seedue to the sadhana the dancer or sadhaka tends to take all of these actions which requires lot of practice, sometimes there might pains but here he or she has to forget and start to take it as they come on leaving on to the almighty or nature.

The very important thing one has to remember here is that the goal of the sadhaka has to be that he ir she is focusing on the bright light in the universe or galaxy which is omni present.