DOCSLIB.ORG

Yoga and Music and Chanting

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Yoga and Music and Chanting Compiled by: Trisha Lamb Last Revised: April 27, 2006 © 2004 by International Association of Yoga Therapists (IAYT) International Association of Yoga Therapists P.O. Box 2513 • Prescott • AZ 86302 • Phone: 928-541-0004 E-mail: [email protected] • URL: www.iayt.org The contents of this bibliography do not provide medical advice and should not be so interpreted. Before beginning any exercise program, see your physician for clearance. “When we practice yoga asana, we [can be] easily seduced by an exclusively physical practice and all that may follow from this: obsession with youthfulness and fitness, compulsion for recognition, desire for physical perfection, a need to be the best, and a self-centeredness. As we begin to chant, longingly calling out to God, a Self-centered outlook develops; a life focused towards the Divine, towards spirit. This view brings into focus our friends, family, yoga community, neighbors and world community. We begin to desire not only a personal peace but a world peace.” —Kimberly Flynn From “Beyond Om” (cited below) NOTE: See also the “Mantra” and “Om” bibliographies. Allen, Ryan. Teacher profile: Steve Ross. LA Yoga, May/Jun 2003, pp. 11-12. Steve Ross, former professional guitarist, and teacher of Yoga for twenty years plays loud contemporary music in his asana classes. Ascent magazine. What Makes a Sound Sacred? issue. Summer 2002. See http://www.ascentmagazine.com. Balayogi, Ananda. The Yoga of Sound audiocassette. Kottakuppam, Tamil Nadu, India: International Centre for Yoga Education and Research, 1998. 90 minutes. (Carnatic vocal music with English lyrics.) Bergstrom-Nielsen, Carl. Meditative listening, meditative music. Bindu, no. 2, pp. 24- 26. Excerpted from Carl’s master’s thesis, “Investigations relating to the experimental concept and the experiment’s role in Western artistic music after 1945.” Bhajananda, Svami. Kirtan: The singing of the divine name. Namarupa, Winter 2004, pp. 74-76. Bodman, Roger. Kirtan. Australian Yoga Life, Jul-Nov 2004, no. 9, pp. 53-57. Carmen, Judith E. Yoga and singing: Natural partners. Journal of Singing, May/June 2004. Carrington, P. Music and chanting. In Patricia Carrington, Freedom in Meditation. New York: Anchor Press/Doubleday, 1977, pp. 172-174. Catalfo, Phil. Can you say om namaha shivaya? What’s old is new again. Chanting is a hot ticket in yoga studios across the country. Yoga Journal, May/Jun 2000, pp. 88-93, 174-178. 2 Chanting, Yoga Philosophy, and Meditation LP. International Center for Self-Analysis. LP CO-2429. The Chant Room of Dzogchen Center. Available online: http://www.dzogchen.org/chant/index.htm. Chinmoy, Sri. Music and spirituality. Article available online: http://srichinmoy.org/html/library/music_and_spirituality/music_and_spirituality.htm. Cummins, Claudia. Is that an asana you’re humming? Yoga Journal, Sep/Oct 2000, p. 25. (On Bernice Lewis, [email protected], a Yoga teacher who is also a singer- songwriter.) Genovesi, Bob. Kirtan call: Yoga master Krishna Das brings Hindu devotional chanting into the music mainstream. Body & Soul, Sep/Oct 2002, pp. 90-93. Das, Krishna. The Yoga of Chant video or DVD. Razor & Tie/Karuna, 2002. See also the citation in this bibliography for the article by Bob Genovesi, “Kirtan Call.” ___________. The Yoga of Chant retreat. For more information, contact [email protected], 1-800-783-YOGA, in Canada 1-800-263-YOGA. Dasanudas, Bhaktisiddhartha. The glories of spiritual sound. Article available online: http://www.iloveyoga.org/music/spiritual_sound.htm. ___________. Svarah Sapta: Intonation in Vaisnava music. 1984. Available online: http://www.iloveyoga.org/music/sapta_svarah.htm. “A thesis Bhaktisiddhartha wrote for his Bhakti-Vaibhava degree examination in India . describing the connection between the Vedic raga system and the quantum-mechanical model of modern physics.” ___________. Lilas and ragas: Radha-Krsna’s asta-kalia-lila (eightfold daily pastimes) set to the Vedic 36-raga daily cycle. Available online: http://www.iloveyoga.org/music/vrndavan-lila/lilas_and_ragas.htm. Desikachar, Kausthub. The Yoga of Sound and Silence: Asana, Chanting & Meditation as an Inward Journey retreat (seven days). ”Yoga is a process of linking with something precious that is devoid of agitation and faults. Once this link is established then the beauty within radiates. The experience of this joy is beyond words. It is true silence. ”Chanting and meditation are tools that help reach this state of silence that is devoid of disturbance and ignorance. Combining special vocal sounds in harmony, and meditative practices, participants will experience an inward journey and link with the precious 3 source of joy within each of us. The beauty of chanting lies in its simplicity and its ability to reach the heart. Combined with meditative practices, participants will recognize the power of sound and its value while embarking on such a path. ”Universally relevant sounds will be used in different forms of practices like asana, pranayama and meditation to prepare us in this journey. Apart from these experiential practices, the workshop will also include theme presentations, dialogs and reflective sessions. No prior experience of chanting or meditation will be necessary to participate.” Some or all of the following topics will be addressed, depending on the interests of attendees: • The use of sound in its many forms in asana practices • The use of sound in its many forms in pranayama practices • The use of sound in its many forms in meditative practices • What sounds produce what effects – the langana/brahmana types • How to utilize sounds in asana/pranayama/meditative practices to people with different backgrounds/cultures/interests • The relevance of certain mantras and their effects when combined with appropriate asana/pranayama/meditation • The symbolism behind some of these mantras and what they mean • Bija mantras (source mantras) and how to use them in different practices Desikachar, T. K. V., with Kausthub Desikachar. Vedic Chant Companion. Krishamacharya Yoga Mandiram, URL: http://kym.org/preview.html. “A companion to those interested in Vedic chanting, this book is presented in three parts. The first part deals with the history of the Vedas, their origin and evolution. The second part describes Vedic chant pedagogy. Answers to frequently asked questions on Vedic chanting form the third and final part . .” Devi, Meenakshi. Music: A spiritual sadhana which enriches and stimulates the brain. Yoga Life, Sep 1998, 29(9):20-21. ___________. The yoga of sounds: A bridge between East and West. Yoga Life, Sep 1998, 29(9):16-19. Dunn, Earl. Kundalini and musical genius. Yoga Today, Jan 1981, 5(9):14-17. Elthink, Merle. Yoga and the young musician. Yoga Awareness, Feb 1980, 4(1):27-31. “The ability to avoid tension and to exert mind control in situations of performance requires considerable skill on the part of the student. This process of mind-discipline is a further desirable addition to the child’s activities. When we consider these needs of (a) flexibility and harmonious muscle development, (b) breath control, and (c) mind- discipline, we find that the one activity which will involve these three aspects is the practice of Hatha-yoga . .” 4 Evenings with song and dance. Bindu, no. 10. “Song and dance can bring us together and break the ice, but [they] can also raise our consciousness and open our hearts.” Faust, William Hull. The big brass. I.D., Sep 1995, 42(5):78. “Inspired by his studies of music and yoga alike, David Monette takes an unorthodox approach to designing the world’s most innovative trumpets.” Fields, Gregory P. Sacred music; Sacred music as a religious therapeutic. In Gregory P. Fields, Religious Therapeutics: Body and Health in Yoga, Ayurveda, and Tantra. Religious Studies Series. New York: SUNY Press, 2001, pp. 155-157; 157-166. Flynn, Kimberly. Beyond Om. Article available online; http://www.ashtangayogashala.com/articals-Chanting.html. On the value of chanting. “When we practice yoga asana, we [can be] easily seduced by an exclusively physical practice and all that may follow from this: obsession with youthfulness and fitness, compulsion for recognition, desire for physical perfection, a need to be the best, and a self-centeredness. As we begin to chant, longingly calling out to God, a Self-centered outlook develops; a life focused towards the Divine, towards spirit. This view brings into focus our friends, family, yoga community, neighbors and world community. We begin to desire not only a personal peace but a world peace.” Freeman, Richard. Chant musicology. Article available online: http://www.ghita.com.au/index.html (use the Site Map to locate the article; the Site Map lists it under “Other,” as “Musical analysis of OM’s & the prayer”). Garde, R. K. Prayers, mantras and music. In R. K. Garde, Principles and Practice of Yoga-Therapy. Bombay, India: D. B. Taraporevala Sons & Co., 1972, 1984, pp. 97-99. Gass, Robert, with Kathleen Brehony. Chanting: Discovering Spirit in Sound. Bantam Doubleday Dell, 2000. Gordon, Daphne. Blissful are the words of chanting chanteuse. The Toronto Star, 25 Feb 2001. On Marla Berg. Govea, Boomer. Singing the praises of yoga. Yoga Journal, Mar/Apr 2003, p. 21. 5 About Yoga teacher and classical singing teacher Judith Carman’s Yoga for Singers classes in Houston, Texas. Govindan, M. Devotional Songs and Chants from the Kriya Yoga Tradition. Audiocassette, 45 minutes. Available from Babaji’s Kriya Yoga, 196 Mountain Road, C.P. 90 Eastman, Quebec J0E 1P0, 450-297-0258, [email protected], www.babaji.org. Tracks: Homage to the 18 Siddhas, Babaji is Love, Dance, Dance..., Song of the Science of Sunworship, Amazing Grace, and many other chants. Green, Amy Yull. Beauty and the Beastie Boy [Adam Yauch]. Shambhala Sun, Jan 1995, pp. 18-25. Green, Suzin. The Yoga of Chant weekly workshop. Rutgers University, 2003. From Suzin Green: “This weekly workshop offers sanctuary and respite from the demands of campus life.
Recommended publications
  • Laghunyasa Vedic Chant: the Heart Welcomes Healing from the Cosmos Mondays, Sept 10 – Oct 8 | 7:00 – 8:00 Pm

    Laghunyasa Vedic Chant: the Heart Welcomes Healing from the Cosmos Mondays, Sept 10 – Oct 8 | 7:00 – 8:00 Pm

    Laghunyasa Vedic Chant: The Heart Welcomes Healing from the Cosmos Mondays, Sept 10 – Oct 8 | 7:00 – 8:00 pm Presented by The Heart as a Channel of Nourishment from the Cosmos Jay Coldwell, RYT-200 will The laghunyasa is a chant, many facilitate this 5-week series on thousands of years old, from the Vedic Vedic chant. culture. It places the heart in the center of the relationship between the Jay studies Vedic Chant with Linda person and the cosmos. Elements Spackman and Sonia Nelson, and within the cosmos nourish our senses, the Yoga Sutra-s with Linda abilities, structures and energies. These in turn, nourish the heart, which Spackman of the Vedic Chant pours into our eternal self, and Institute in Santa Fe, New Mexico. completing the circle, to the ultimate reality underlying all that is. While this series does not require attendance each week, the We will build this chant week-by-week material builds from week to as we: week. However, we will always • Move the body in a few gentle yoga postures to help with back review and practice material care and focus contained in previous weeks, so don’t worry if you can’t attend • Chant a Sanskrit invocation each session. • Learn the chant refrain and one verse at a time • Place the chant in context • Chant the text as a meditation Fee Use your yoga pass! • Immerse yourself in this $15 drop-in, packages available at reduced ancient practice, and the joy of cost. chanting Sanskrit, the language of the spirit, as a group.
  • Vedic Chant Teacher Training Program Has Become As Popular As Its Unique Yoga Teacher and Yoga Therapy Training Programs

    Vedic Chant Teacher Training Program Has Become As Popular As Its Unique Yoga Teacher and Yoga Therapy Training Programs

    VEDIC CHANT TEACHER1 TRAINING IN THE CLASSICAL TRADITION OF T KRISHNAMACHARYA & TKV DESIKACHAR 2019-2020 INDIA BATCH ® VINIYOGA by KRISHNAMACHARYA HEALING AND YOGA FOUNDA TION KRISHNAMACHARYA HEALING & YOGA FOUNDATION | VEDIC CHANT TRAINING PROGRAM | INDIA | 2019 - 2020 2 I. INTRODUCTION The word ‘Veda’ means Knowledge. According to Indian tradition, the Veda-s which are a vast collection of hymns, were believed to be heard by ancient Indian sages when they were in a deep meditative state. Collectively they are considered the most authoritative source of Indian wisdom as they contain information on every conceivable subject from the relationship between a teacher and student to the structure of the human system, from the relevance of nature and the elements in our lives to the technical know-how necessary to build weapons, from the origin of the universe to simple social etiquette and more. Thus, the Veda-s have, for thousands of years, been the primary source of reference for living. Over the years, the vast information contained in the Veda-s was preserved and transmitted from one generation of teachers and students to the next in an oral manner. There were certain basic rules of chanting the Veda-s that had to be adhered to without compromise. It is because of the rules and pedagogy of chanting that until today, the Veda-s are chanted exactly as it was done several thousand years ago. While chanting from the Veda-s has been part of Indian culture over countless generations, there has been a growing interest in the study of Vedic Chanting internationally too in the last few decades.
  • Minutes of the Meeting of the Expert Committee Held on 14Th, 15Th,17Th and 18Th October, 2013 Under the Performing Arts Grants Scheme (PAGS)

    Minutes of the Meeting of the Expert Committee Held on 14Th, 15Th,17Th and 18Th October, 2013 Under the Performing Arts Grants Scheme (PAGS)

    No.F.10-01/2012-P.Arts (Pt.) Ministry of Culture P. Arts Section Minutes of the Meeting of the Expert Committee held on 14th, 15th,17th and 18th October, 2013 under the Performing Arts Grants Scheme (PAGS). The Expert Committee for the Performing Arts Grants Scheme (PAGS) met on 14th, 15th ,17thand 18th October, 2013 to consider renewal of salary grants to existing grantees and decide on the fresh applications received for salary and production grants under the Scheme, including review of certain past cases, as recommended in the earlier meeting. The meeting was chaired by Smt. Arvind Manjit Singh, Joint Secretary (Culture). A list of Expert members present in the meeting is annexed. 2. On the opening day of the meeting ie. 14th October, inaugurating the meeting, Sh. Sanjeev Mittal, Joint Secretary, introduced himself to the members of Expert Committee and while welcoming the members of the committee informed that the Ministry was putting its best efforts to promote, develop and protect culture of the country. As regards the Performing Arts Grants Scheme(earlier known as the Scheme of Financial Assistance to Professional Groups and Individuals Engaged for Specified Performing Arts Projects; Salary & Production Grants), it was apprised that despite severe financial constraints invoked by the Deptt. Of Expenditure the Ministry had ensured a provision of Rs.48 crores for the Repertory/Production Grants during the current financial year which was in fact higher than the last year’s budgetary provision. 3. Smt. Meena Balimane Sharma, Director, in her capacity as the Member-Secretary of the Expert Committee, thereafter, briefed the members about the salient features of various provisions of the relevant Scheme under which the proposals in question were required to be examined by them before giving their recommendations.
  • Bringing the Divine Down Into Man: the Building

    Bringing the Divine Down Into Man: the Building

    Bringing the Divine down into Man: the building-up of the yoga path Trazendo o Divino para Dentro do Homem: a Construção do Sistema do Yoga Das Göttliche in den Menschen bringen: Die Konstruktion des Yoga Edrisi Fernandes 1 Resumo: O autor analisa a evolução do Yoga como uma disciplina ascética, desde o tempo da absorção dos habitantes originais da ?ndia pelas tribos arianas, que ali chegaram numa época proto-histórica. Ritos austeros, práticas mágicas, exercícios de controle respiratório e atitudes ascéticas dos habitantes locais foram incorporados na metafísica e na religião Védicas, e também no Yoga pré-clássico. A descoberta do poder das práticas ascéticas e meditacionais permitiu um distanciamento progressivo dos yogis em relação a práticas religiosas externas, tais como sacrifícios realizados com a intenção de favorecer os deuses, e a um avanço paralelo da visão do Yoga como um tipo de sacrifício em si mesmo, fundamentado na associação – entendida como uma ligação ou [re]união – entre o “Self”/a Alma vivente (âtman; jivâtman) do homem e a norma eterna (sanatana dharma), o “Senhor das Criaturas” (Prajâpati), o Ser Supremo (Parameshtin; Brahman; Shiva do Shaivismo; Vishnu do Vaishnavismo), ou a força ou poder (Shakti do Shaktismo [Tantrismo]) que torna a vida possível e que mantém o cosmos. Através de uma revisão do tema do Purusha (sânscrito para “pessoa; homem”, mas também para “Homem Universal; homem-deus”) em algumas referências clássicas da literatura indiana – incluindo o Rigveda, o Atharvaveda, muitos Upanishads, porções relevantes
  • Performing the Yogasutra

    Performing the Yogasutra

    PERFORMING THE YOGASUTRA - TOWARDS A METHODOLOGY FOR STUDYING RECITATION IN MODERN HATHA YOGA (Revised version of paper presented at the conference “Ritual Practices in Indian Religions and Contexts”, Lund, 9-12 December, 2004.) Klas Nevrin, PhD Candidate, Department of History of Religions, Stockholm University. INTRODUCTION In the following I will explore various methodological approaches to studying recitation and chant, with particular focus on recitation of the Yogasutra in the context of modern yoga and the schools often grouped under the heading of Viniyoga. Viniyoga are the teachings and practices primarily associated with the South Indian Brahmin Tirumalai Krishnamacharya (1888-1989) and his son T.K.V. Desikachar (b. 1938). Although the epithet has lately been abandoned by Desikachar it is still in use by many of his students. For our purposes, suffice it to say that I take “Viniyoga” to be an appropriate name for a family of schools descending from Krishnamacharya and Desikachar, which are growing rapidly in popularity. It is one of the styles of modern yoga in which the use of the Yogasutra (YS) is of central importance, being employed as a constant reference for practices and various forms of intellectual guidance. In Viniyoga, the YS is recited using techniques of Vedic chant common in the South Indian environment, which considerably elevates the status of the YS vis-à-vis the Vedas.(1) The historical background to this has to do with Krishnamacharya’s and Desikachar’s own affiliation with Sri Vaisnavism. Traditionally, this form av devotionalism (the lineage being traced to Nathamuni, claimed ancestor by Krishnamacharya, via Ramanuja to Vedantadesika) has neither regarded YS as being of central importance, nor has it engaged with practices typically associated as a whole with the YS, i.e.
  • Vedic Chanting in Kerala

    Vedic Chanting in Kerala

    The Newsletter | No.69 | Autumn 2014 6 | The Study Vedic chanting in Kerala Left: A Vedic expert On 7 November 2003 the United Nations Educational, Scientific Sankaranarayan Akkithiripad from and Cultural Organization (UNESCO) declared the Tradition of Vedic Kavapra Mana. Below: Chanting (India) a Masterpiece of the Oral and Intangible Heritage Two students of the Trissur Brahmasvam of Humanity. According to Indian tradition, four Vedas – the Ṛgveda Matham (the younger ˙ (hymns), the Yajurveda (sacrificial formulas), the Sāmaveda (chants) with his mother). and the Atharvaveda (magical formulas) – are considered to be non- human in origin (apaurus· eya), beginningless (anādi) and eternal (nitya). This awareness prompted Brahmins of India to create unique methods for their preservation and transmission without even changing any of the accents. These methods are based on sophisticated mnemonic techniques and rely on different versions of repetitions. Natalia Korneeva ALONG WITH the two main powerful Vedic traditions (the living tradition, handed down orally from father to son, Western tradition: Maharashtra, Saurashtra, Varanasi – and from teacher to student. As a living tradition, it demonstrates the Southern tradition: Tamil Nadu, Andhra Pradesh, Mysore) the differences between tradition and texts.6 several isolated traditions have also survived: White Yajurveda tradition in Tamil Nadu; the rare Atharvaveda tradition of the In danger of extinction Śaunaka recension in Saurashtra; the Paippalāda recension in The Nambudiri Sāmaveda (chanting) tradition in Kerala Orissa; and the tradition of Malayalam-speaking Nambudiri is nearly extinct. There are now only four elderly Nambudiri Brahmins in Kerala. Brahmins from two families who have learned Sāmaveda by The Nambudiri (Nampūtiri, Namboodiri, Namboothiri) heart the traditional way, and who can chant all the modes tradition is rather different from other traditions.
  • Für Sonntag, 21

    Für Sonntag, 21

    Tägliche BeatlesInfoMail 29.12.20: I want to tell you /// Zwei Mal THINGS 343 - jeweils auf Deutsch und Englisch /// MANY YEARS AGO ---------------------------------------------------------------------------------------------- Im Beatles Museum erhältlich: Zwei Mal THINGS 343 - jeweils auf Deutsch und Englisch Versenden wir gut verpackt als Brief (mit Deutscher Post). Abbildungen von links: Titelseite und Inhaltsverzeichnis für deutsches THINGS 343 / alle 40 Seiten (verkleinert) Deutsches BEATLES-Magazin THINGS 343. 4,00 € inkl. Versand Herausgeber: Beatles Museum, Deutschland. 1617-8114. Heft, A5-Format, 40 Seiten; viele Farb- und Schwarzweiß-Fotos; deutschsprachig. Schwerpunktthemen (mindestens eine Seite): MANY YEARS AGO: BEATLES-Aufnahmen für das Album RUBBER SOUL. / PAUL McCARTNEY, RINGO STARR, JOHN LENNON, GEORGE HARRISON 1970. / JOHN LENNON und YOKO ONO - Interviews und Fotos im Cafe La Fortuna, New York. / JOHN LENNON und YOKO ONO - die Kimono-Fotos. / GEORGE und OLIVIA HARRISON besuchen Christie’s in London. / GEORGE HARRISON produziert neues My Sweet Lord-Video. / RINGO STARR auf Veranstaltung IMAGINE THERE’S NO HUNGER. / NEWS & DIES & DAS: BADFINGER-Mitglied JOEY MOLLAND mit neuen Versionen von drei Songs und neuem BADFINGER-Album. / 1966er BEATLES-Auftritt beim „‘New Musical Express’ Poll Winners Concert“. / „Record Store Day 2020“-Veröffentlichungen mit BEATLES-Bezug. / Buch BEATLEMANIA - FOUR PHOTOGRAPHERS ON THE FAB FOUR. / PAUL McCARTNEY-Album McCARTNEY III. Kompletter Inhalt: Coverfoto: THE BEATLES am Mittwoch 3. November 1965 im EMI Recording Studio 2 beim Aufnehmen von Songs für das nächste Album, RUBBER SOUL. Angebot / Info: Buch/Fotoband ASTRID KIRCHHERR WITH THE BEATLES. Seite halb Vier: BEATLES CLUB WUPPERTAL trauert um Doris Schulte-Albrecht. Impressum: Infos zum Beatles Museum und zu THINGS. Hallo M.B.M., die nächsten 40 Jahre.
  • New Wave Monthly Newsletter of ISKCON Delhi-NCR

    New Wave Monthly Newsletter of ISKCON Delhi-NCR

    Volume 4, Issue 11 March 2018 The New Wave Monthly Newsletter of ISKCON Delhi-NCR News 1. Seminar on Stress Management (3rd – 4th Feb) 3. Free Medical Camp (4th, 11th and 18th Feb) (ISKCON Gurugram) (ISKCON Gurugram) H.G. Dashrathi Prasad Das conducted a seminar on Stress A free medical camp was organized to provide free tests for management for the senior management of Jhabua Power health check-up, diabetes, blood pressure. The 3 day camp plant in Jabalpur. The program was highly successful and offered counselling and treatment by a team of trained attracted attention of local newspapers as well. The seminar Doctors and Specialists headed by Dr. Suresh, Dr. Vahini and provided tips to encounter daily corporate challenges based Dr. Rajani and Dr. D.D. Gera. Many visitors took consultation on the teachings from ‘Bhagavada Gita As it Is’ by Srila and treatment from the doctors at the camp. Prabhupada. 4. Appearance day of Srila Bhaktisiddhanta Sarasvati Thakura (5th Feb) (ISKCON Delhi-NCR Temples) Srila Bhaktisiddhanta Sarasvati Thakura’s appearance day was celebrated with transcendental kirtan, pushpanjali and feast. The ‘lion guru’ revived Vaishnavism through his philosophical and scholarly approach. His knowledge of 2. IYF 6-day session (from 4th Feb) and faith in shastras paved (ISKCON Punjabi Bagh) the way for the worldwide ISKCON Youth Forum, organized a 6 sessions seminar spread of Vaishnavism. for the youth, which started on 4th February and will be He challenged the deep- conducted every Sunday from 3-5 pm at Srila Prabhupada rooted caste system and Bhavan. The topic of the session is ‘Discover Yourself” and pioneered the propagation it aims to redirect of Vaishnava siddhanta.
  • 2.Hindu Websites Sorted Category Wise

    2.Hindu Websites Sorted Category Wise

    Sl. No. Broad catergory Website Address Description Reference Country 1 Archaelogy http://en.wikipedia.org/wiki/Harappa Harappa Civilisation India 2 Archaelogy http://en.wikipedia.org/wiki/Indus_Valley_Civilization Indus Valley Civilisation India 3 Archaelogy http://en.wikipedia.org/wiki/Mohenjo_Daro Mohenjo_Daro Civilisation India 4 Archaelogy http://www.ancientworlds.net/aw/Post/881715 Ancient Vishnu Idol Found in Russia Russia 5 Archaelogy http://www.archaeologyonline.net/ Archeological Evidence of Vedic System India 6 Archaelogy http://www.archaeologyonline.net/artifacts/scientific- Scientific Verification of Vedic Knowledge India verif-vedas.html 7 Archaelogy http://www.ariseindiaforum.org/?p=457 Submerged Cities -Ancient City Dwarka India 8 Archaelogy http://www.dwarkapath.blogspot.com/2010/12/why- Submerged Cities -Ancient City Dwarka India dwarka-submerged-in-water.html 9 Archaelogy http://www.harappa.com/ The Ancient Indus Civilization India 10 Archaelogy http://www.puratattva.in/2010/10/20/mahendravadi- Mahendravadi – Vishnu Temple of India vishnu-temvishnu templeple-of-mahendravarman-34.html of mahendravarman 34.html Mahendravarman 11 Archaelogy http://www.satyameva-jayate.org/2011/10/07/krishna- Krishna and Rath Yatra in Ancient Egypt India rathyatra-egypt/ 12 Archaelogy http://www.vedicempire.com/ Ancient Vedic heritage World 13 Architecture http://www.anishkapoor.com/ Anish Kapoor Architect London UK 14 Architecture http://www.ellora.ind.in/ Ellora Caves India 15 Architecture http://www.elloracaves.org/ Ellora Caves India 16 Architecture http://www.inbalistone.com/ Bali Stone Work Indonesia 17 Architecture http://www.nuarta.com/ The Artist - Nyoman Nuarta Indonesia 18 Architecture http://www.oocities.org/athens/2583/tht31.html Build temples in Agamic way India 19 Architecture http://www.sompuraa.com/ Hitesh H Sompuraa Architects & Sompura Art India 20 Architecture http://www.ssvt.org/about/TempleAchitecture.asp Temple Architect -V.
  • Mantras and Sacred Chants

    Mantras and Sacred Chants

    1 Peace Mala Mantras and Sacred Chants Mantras or sacred chants are often written in Sanskrit which is an ancient sacred language from India. Many of the holy books linked with Hinduism, Buddhism and Jainism are written in this language. The word ‘mala’, is from the Sanskrit language and means ‘garland of flowers’. In the East a mala is a string of beads used in meditation or prayer as each bead or ‘flower’ focuses on a prayer or mantra. You can see mala beads in this photo where the Buddhist practitioner is about to chant mantras to Medicine Buddha. Copyright © Pam Evans 2011 (revised 2020) www.peacemala.org.uk “Creative education that empowers and embraces all Uniting the World in Peace” “Addysg greadigol sy’n grymuso ac yn cofleidio pawb Uno'r Byd mewn Heddwch” 2 The word ‘mantra’ is also from the Sanskrit language and describes a sacred sound or group of words used in chanting. Mantras are repeated in order to focus the mind or consciousness. The oldest mantras composed in Sanskrit are at least 3000 years old. Some teachers refer to mantras as ‘mind protection’ or ‘secret speech’. This is because concentrating on mantras, and counting mala beads at the same time, helps to block out distracting thoughts. Western scientists are beginning to discover that the chanting of mantras has health benefits and helps to calm the mind and nervous system. The word ‘mantra’ can be broken down into two parts: ‘man’, which means mind, and ‘tra’, which means transport or vehicle. In other words, a mantra is an instrument of the mind—a powerful sound or vibration that you can use to enter a deep state of meditation.
  • Theosophy Moving Forward

    Theosophy Moving Forward

    Independent Theosophical Magazine ­ Electronic Edition ­ 3rd Qtr 2013 Moving Theosophy ahead in the 21st Forward century Main theme in this issue Our Unity Chronology of Theosophical Unity The Eye and the Heart Doctrine Human Regeneration Adyar, Mon Amour Theosophical approaches to Christianity Theosophy Forward This independent electronic magazine offers a portal to Theosophy for all those who believe that its teachings are timeless. It shuns passing fads, negativity, and the petty squabbles of sectarianism that mar even some efforts to propagate the eternal Truth. Theosophy Forward offers a positive and constructive outlook on current affairs. Theosophy Forward encourages all Theosophists, of whatever organizations, as well as those who are unaligned but carry Theosophy in their hearts, to come together. Theosophists of any allegiance can meet and respectfully exchange views, because each of us is a centre for Theosophical work. It needs to be underscored that strong ties are maintained with all the existing Theosophical Societies, but the magazine's commitment lies with Theosophy only and not with individuals or groups representing these various vehicles. Theosophy Forward ­ 4th Quarter 2013 Regular Edition of Theosophy Forward Front cover photo by David Grossman Published by Theosophy Forward Produced by the Rman Institute Copyright © Theosophy Forward 2013 Contents Page THEOSOPHY 6 Chelas and Lay Chelas ­ by H. P. Blavatsky 7 Our Unity ­ by Dorothy Bell 15 Our Unity ­ by John Algeo 19 Our Unity ­ The Aura of All­Being ­ by Nicholas
  • Ravi Shankar Notes.Indd

    Ravi Shankar Notes.Indd

    CAL PERFORMANCES PRESENTS Sunday, May , , pm Zellerbach Hall Festival of India III featuring Ravi Shankar, sitar © Vincent © Vincent Limongelli and Anoushka Shankar, sitar with Tanmoy Bose, tabla Partho Sarothy, sarod Ravichandra Kulur, fl ute Neyveli S. Radhakrishna, violin Swarnima Gusain, vocals Hari Sivanesan, veena Pirashanna Th evarajah, percussion Sanjeev Shankar, shehnai Aditya Prakash, vocals Kenji Ota, tanpura Th is performance is made possible, in part, by the generous support of the members of the Cal Performances Producers Circle and Friends of Cal Performances. Cal Performances thanks our Centennial Season Sponsor, Wells Fargo. CAL PERFORMANCES 27 PROGRAM ABOUT THE ARTISTS Sunday, May , , pm Legendary sitar virtuoso, composer, teacher and Grammy and Oscar for his original score to Gan- Zellerbach Hall writer, Ravi Shankar is India’s most esteemed musi- dhi, the Academy Award-winning classic fi lm by cal ambassador and a singular phenomenon whose Sir Richard Attenborough. He made history on artistry crosses all cultural and musical boundaries. both the British and Indian cultural scenes with Festival of India III A student of the illustrious guru “Baba” Ustad Al- the ballet Ghanashyam, which he wrote, composed laudin Khan, Mr. Shankar was already one of the and choreographed. featuring brightest stars in India before coming to interna- Ravi Shankar is the recipient of many awards tional attention in the s. Since then, he has and honors. including the Presidential Padma Vib- Ravi Shankar, sitar been the foremost pioneer in disseminating India’s hushan Award () and the Award of Deshikot- rich classical music tradition to the West. tam, given by Vishawa Bharati and presented in and Th e youngest son of a Bengali family, Ravi December by Prime Minister Indira Gandhi.