KYM Darsanam December 2018

N ĀDAM-VEDAM -GĪTAM -N ṚTYAM
Y OGIC INTERCONNECTIONS
DARŚANAM
A Quarterly Journal on Yoga and Yoga-cikitsā from Krishnamacharya Yoga Mandiram
Vol 1, No. 3 D ARŚANAM
December, 2018
KYM-Darśanam was a quarterly journal of the Krishnamacharya Yoga Mandiram, devoted to Yoga and related
aspects of Indian culture, as taught by Śrī T Krishnamacharya. Twenty one editions of the journal were published
between February 1991 and February 1996. KYM-Darśanam was very well received by readers across the world
and was valued for the authenticity of its contents and its adherence to the tradition of Śrī T Krishnamacharya.
Krishnamacharya Yoga Mandiram is very happy to revive KYM-Darśanam and offer the third issue in a
digitised and downloadable format, on the theme, “Nādam-Vedam-Gītam-Nṛtyam | Yogic Interconnections.”
KYM-Darśanam offers serious students of Yoga, articles and content of value with regard to the philosophy,
practice and application of Yoga in every edition. We also commit to upholding the authenticity of the legacy of our
Founder, Śrī TKV Desikachar.
ADVISORY COMMITTEE | MR. S SRIDHARAN, TRUSTEE KYM, DR. LATHA

SATISH, HEAD - KYM RESEARCH COUNCIL & MR. A.V BALASUBRAMANIAN,
MEMBER, BOARD OF STUDIES, KYM
EXECUTIVE GUIDANCE | MR. T SWAMINATHAN, CEO, KYM
EDITOR IN CHIEF | NRITHYA JAGANNATHAN, DIRECTOR, KYM-MEDIA
EDITORIAL ASSISTANCE AND DESIGN | SHRILEKHA, KYM-MEDIA
We offer our thanks to Sai Kripa V, Varshaa Raman and Praveena V for their assistance with
transcription & compilation
Website | www.kym.org | www.kymyogavaisharadi.org
All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including
photocopying, recording, or other electronic or mechanical methods, without the prior written permission of Krishnamacharya Yoga
Mandiram, except in the case of brief quotations embodied in critical reviews and other non-commercial uses permitted by copyright law
and with due credit to Krishnamacharya Yoga Mandiram. For permission requests, write to ceo@kym.org
The views and opinions expressed in the articles are those of the authors and do not in any manner reflect the opinion of
Krishnamacharya Yoga Mandiram
Darśanam | December 2018 2

Vol 1, No. 3 D ARŚANAM December, 2018
A NOTE FROM THE EDITOR’S DESK

Namaskāram. Indeed, at a deeper level, music, dance and chanting and
all the arts, have the power to pull down the walls of
It is the month of Margazhi, the month when all of Chennai isolation and segregation that we have constructed,
reverberates with the annual music and dance festival, instead building bridges of peace, compassion and hope.
that time of the year when beautiful Raṅgoli-s are drawn
outside homes to welcome the Divine, the month which is In the KYM, research statistics for the year 2017 indicate
earmarked in its entirety for Nāmasaṅkīrtaṅam and the that out of a total of 3707 consultations done, practices
celebration of the Divine, the month that Kṛṣṇa identifies integrated with some kind of chants were designed by
himself with in the Bhagavadgīta. consultants for 2718 (73.32%) of care-seekers. Of these,
Christian chants were used for 11 care-seekers, Islamic
And what better theme to anchor this edition of Darśanam chants were used for 5 care-seekers, and secular sounds
on, than the common thread that so beautifully unifies the like ‘Ma’, where used for 11 care-seekers. Interestingly,
Yogic tradition and the traditions of Veda-adhyayanam, 76% of care-seekers who practiced at least five times a
music (Saṅgītam) and dance (Nṛtyam) - the primal sound - week reported over 60% symptomatic relief, with over
Nāda? 95% of care-seekers reporting significant improvement in
sleep quality, energy levels and appetite. These statistics
This Nāda pervades the universe, in the drone of the bees, surely indicate the positive effect of chanting on overall
the sounds of the ocean, in the unheard flutter of butterfly perception of wellness. In these times especially, healers
wings, in the trumpeting of the elephants, in the rustle of from every tradition are taking recourse to the remarkable
paddy fields swaying in the wind, in the cry of an infant healing potential of sound, when properly used.
and the call of the calf, in the crackling of fire on cold
winter nights and in the starry stillness of the skies above. Musicians, dancers, researchers, scholars, musicologists,
Since time immemorial, mankind has used sound, not only Yoga therapists, psychologists, spiritual masters and
for self expression but also to bring about a resonance practitioners of Vedic chant come together, in this edition
between inner and outer spheres. The power of sacred of Darśanam, weaving an intricate tapestry that
sound as a pathway to a transcendent silence, has long celebrates the Nāda-brahmam (the Sound Divine) through
been experienced, as also the innate power of carefully the warp of their artistic melody and the weft of their lives'
produced sound in the realms of healing. creative rhythms.
In the immediate aftermath of the 9/11 tragedy, as people Read on and immerse yourself in a symphony
across the world struggled to come to terms with orchestrated by the greatest musician of them all,
unimaginable pain and loss, our teacher, Śrī Desikachar, resonating all around us, as the tangible form of of the
sat on a bench in a park in USA, eyes closed, immersing intangible Brahman. Wishing every one of you a blessed
himself in chanting. He opened his eyes to see around him festival season that brings to you every abundance. May
so many people who had gathered there, drawn by the the year that unfolds lead us to an experience of the
solace they had received hearing him chant. Sir later resonating glow of the light within.
recounted this experience in KYM, asking all those who
were present to simultaneously chant whatever they held Samasta Sanmaṅgalāṇi Bhavantu
close to their heart. What resulted wasn’t cacophony but a
deep sense of peace and harmony. This reiterates the role Nrithya Jagannathan
of sound, of music and of chanting as flowing rivers of
healing, assuaging our pain, giving us the inner resilience Director, KYM-Media
to surmount our challenges, and as Sir said, "to simply
open our hearts.”

December, 2018
REMEMBERING SIR
ŚRĪ TKV DESIKACHAR
THROUGH THE EYES OF HIS STUDENTS

December, 2018
SEEKING A TEACHER, ŚRĪ TKV DESIKACHAR

BY
BARBARA BRIAN
“TKV Desikachar” this name kept coming my studies deepened, I shared these teachings
towards me in various ways, through Yoga with my students and eventually hosted him in
friends telling stories of going to Madras to Melbourne, Australia, so that they could also
study with him, or books that came into my directly experience the spirit of Yoga
hands written by people he had inspired. I was transmitted through him.
at a point where I was seeking a teacher to take

me further into the spirit of Yoga. In the early My first experience of Śrī Desikachar in
90’s when Śrī Desikachar was listed as a Australia was as a spiritual Elder. Arriving into
Barbara has a background
presenter at an International Conference in Melbourne, he was welcomed by the Aboriginal
of 20 years teaching in
Jerusalem on ‘Unity of Yoga, Peace in the Elder of the region, Joy Murphy, who performed
Special Education and
Middle East,’ I was drawn to it. My first a traditional ritual, giving him permission to
through her personal
impression of him was memorable.
walk the land “from the ground that he stood
experience of how Yoga
on to the tops of the trees.” Joy blessed him
assisted in reducing
Śrī Desikachar arrived at the conference a day with water and presented a small branch of
disturbance in her students,
or so later than the other faculty members, so gum leaves, his ‘key’ to the city. Recognising
decided to train as a Yoga
there was an opportunity to witness a change the moment, Śrī Desikachar received the
Teacher. Over time, she
in ambience that his presence brought. blessing and responded by offering his own
committed to the teachings
Standing alone, with no entourage or minders traditional ritual gesture of acceptance.
of Śrī T Krishnamacharya,
in sight, the respect in which he was held was
studying privately with his
obvious. He seemed to embody the essence of Our time with Śrī Desikachar in Melbourne had
son, Śrī TKV Desikachar for
what this conference was about - peace.
been blessed with an auspicious beginning.
20 years. Now, she is a
Being with him, has helped me gain a
Yoga teacher, therapist and
Vedic chanting was his contribution to the relationship with “honouring,” catching
trainer for those wishing to
conference, allowing sound, the vibration of his precious moments to appreciate, to be grateful
learn and teach in this
chanting, to hold us together in peaceful or to transmit something special. Ritual and
tradition.
intention. I felt that this created space for ceremony are ways of connecting and
participants to work together harmoniously. Śrī honouring, that I had lost and have now re-
Barbara is the Director and
Desikachar stood alone, yet seemed to unify gained through his guidance.
Founder of Agama Yoga

the room.
C e n t re f o r H e a l t h a n d
Śrī Desikachar’s first visit coincided with the
Healing in Middle Park,
My Yoga studies and teaching up to this point launching of his book “The Heart of Yoga –
Melbourne, Australia
came from a very different source. Having an Developing a Personal Practice.” A gathering of
(established 1989). Because
established Yoga Centre for 5 years, I was more than 300 students of Yoga came to hear
of this length of time in the
inspired by my experience of Śrī Desikachar’s him speak. People who had heard of Śrī
community, the Yoga centre
teaching and presence to make a change in our Desikachar or had been touched by the
offers classes that spread
approach. After these experiences in Israel and teachings of his father, Śrī T Krishnamacharaya.
a c ro s s e v e r y s t a g e o f
Bath, I committed to begin my studies with Śrī The whole evening was devoted to honouring
life. Teaching private
Desikachar.
his father, in whose footsteps he walks. “I am
classes, training &
the postman, delivering my father’s teachings.”
mentoring Yoga teachers

Initially, the teachings resonated because of the
and therapists in the
focus on Patañjali’s Yogasūtra and the rich It was during this presentation that I
tradition of Śrī T
experience of breath-led practices. Eventually a understood the importance of “Pāraṁparā,”
Krishnamacharya, forms
multitude of Yoga tools opened up once my the role of Śrī TKV Desikachar as the torch-
the bulk of her work today.
personal journey with Śrī Desikachar began. As bearer carrying the legacy of the teachings

into the future. His faith in his father’s Singapore, I assisted him with a group though he said it for the first time, a potent
approach to teaching Yoga was so strong, Prāṇāyāma class using Mantra. Before we reminder, plunging the message even
that it continues to inspire many potential started, he said quietly to me “You don’t deeper, that if we engage in expectation,
“postmen” decades later.
know many chants do you, what can we do then we have some investment in the
together?” He chose something simple and suffering that we experience when change
It dawned on me as I embarked on this slowly extended it so that I could follow, he occurs, as it constantly does.
journey as a student of these teachings, using a Mantra for the inhale and I followed
that eventually we would also find creative with the same Mantra for exhale. My An example of this happened in the late
ways of delivering Śrī T Krishnamacharya’s moment of ‘freeze’ gradually thawed into an 90’s. An Australian and New Zealand tour
teachings into the lives of future easy flow, following behind him. Not only was in its final stages of organisation
generations. When our studies with Śrī did I survive that moment, I made a when Śrī Desikachar suddenly cancelled
Desikachar began, his presentations were commitment to take chanting more it. My immediate response was, “But you
always sprinkled with funny examples seriously.
made a commitment, plans have been
gleaned while walking, having meals made in many places. You can’t cancel it
together or from the local news. As I walked In my experience over the years, he has now!” After I cooled down and discussed
with him in the breaks, I was looking inspired many others to step into the it with him further, I understood that he
through the eyes of a traditional Indian man, unknown and be guided by the teachings, had reflected on it and felt that other
in a foreign culture finding his tools to teach building faith and self-confidence along the steps needed to be taken first. It was not
the next session.
way.
the right time for him to come. It was also
a lesson in the difference between
Along the way, in the domain of one-to-one Part of the legacy of time spent in Sir’s students who are eager and those who
study, “Śrī Desikachar” became ‘Sir’ to me presence, are guiding phrases that stay with are ready.
and to many others. The personal teacher- me like ‘sound bytes.’ “I tell all my friends to
student relationship intensified over the have no expectations.” These words echo in As the teacher, he didn’t walk away and
years, where he provided many challenging my mind. He’s repeated them many times in simply wait until we were “ready.” A
opportunities. Years ago at a big event in many different contexts. Each time, it’s as special plan was put forward to prepare us

December, 2018
thoroughly to be able to receive the teachings as committed to create layered experiences where the very experienced and
study groups. Studentship and Saṅga were brought together in the beginner can equally receive nourishment was extraordinary.
his master plan. Rather than him coming for a weekend The different relationships with Śrī Desikachar, the Yoga teacher,
workshop, he provided the right teacher to come for two weeks therapist, spiritual guide or the companion walking through
and travel to different locations across the country. In addition to nature, are woven together in my experience of him at different
this, an open invitation was extended for us to come to the times and places. His quiet, subtle teaching at deep fundamental
Krishnamacharya Yoga Mandiram as a combined group to levels directly affects my life, as freshly now as the moment of
consolidate what we had received.
transmission.
My studentship shifted more and more from the group to the Sir was happy to spend time and develop a relationship with my
personal one-on-one domain. In one of our sessions I arrived partner, Andrew, who was often his companion in the breaks
really distressed and intense. Sir encouraged me to explain what from teaching and in driving out of the city to be in nature. Sir’s
had happened. A story of betrayal unfolded and he actually name for Andrew varied between ‘Krishna’ when he was taking
laughed! Then he turned his head and feigned a sore neck. “It’s him from place to place and ‘Om’ at other times.
just like this,” he said as he turned his neck awkwardly. “Nothing

to worry about, it will pass. Treat lightly, that which seems On one of my trips to Chennai, Andrew came with me and it was
overwhelming.”
during this trip that Sir made a beautiful gesture. He’d been out
walking and found a large heart-shaped leaf, and thinking of
Sir was a master of poetic gestures in answer to tricky questions, Andrew, he picked it up and before gifting it to him, painted ‘OM’
or to acknowledge special moments in time. It was a unique, on it and generously had the leaf framed.
heartfelt communication that was effective where ordinary

language didn’t serve the situation well. A favourite one, in Meeting Sir in India each year has been very precious. I met a
answer to a question about the meaning of “life,” he spelt out:
man who was truly in his place. He seemed to be at home in
every sense of the word, walking in the spaces where he studied
• L-earning from mistakes
with his father for decades; memories held in special places.
• I-nspired by loved ones
• F-orgiving the errors

I also knew Sir as a family man living with his extended family in
• E-njoying the present  a home positioned within a very poor community that was much
enriched by his presence and peaceful influence.
Very early in my studies with Sir, I asked him why so many of his
former students had fallen away and established themselves in I remember moments when I’d come across Sir and Menaka
different ways and yet, still used his teachings as their own. His walking their dog Tulsi in the local area. I’d receive a friendly
answer was brief and without judgment. “It’s simply a matter of wave as though I was also part of the light and colour of the
the heart.”
community in which they lived so open-heartedly. In this same
spirit of generosity, we occasionally enjoyed being together with
On a world tour in 2007 when Sir was touring with his family, Sir and his family at New Woodlands for a Thali or a snack.
many people who were not very experienced in Yoga wanted to

come to be with him. His instructions were, “Turn no seeker Sitting across from Sir at his desk, I found that as well as the
away.” The feedback from this event indicated that Sir’s capacity topic of the day, other fundamental spiritual teachings about life

were also in progress. On one particular day, Sir set me a the clock and said, “Look, it’s cracked!” and he gave it to me.
course planning task and sat in front watching while I Sir handed me my new practice and simply said “Something
completed it. Many rubbings out later, he came over to my must crack!”
seat and scooped up all of the tiny pieces of rubber from my

mistakes into his hands and asked me where he should put This became the symbol of my relationship with Sir. The
these. There was no bin. I indicated the garden. He said that symbol of the cracked glass of the clock that kept time
Menaka wouldn’t be pleased, indicating the wasteful and through the teachings of his father and the words,
unnecessary activity that a few moments of thought before “Something must crack,” have been companions along the
putting pencil to paper would have prevented.
way to becoming more open and free to the ocean of gifts
available to a student who is truly seeking.
Sir encouraged us to be efficient with resources at the mental

level, to reflect before action. The symbolic lesson of the use At the end of every session, Sir always walked me to the gate
of the eraser on the end of a pencil has never been forgotten.
to say goodbye before receiving the next student. As I look
back with gratitude at the man, the mentor and the bringer of
I learned to appreciate the face-to-face time that I had with peace, I know that his presence dwells deep within me and
Sir. “Take a step!” He always encouraged me to have a go, continues to travel onward to my students, through time, an
“to break the cycle of doubt.” When I wasn’t prepared to have everlasting impression of the spirit of Yoga flowing forward.
a go and possibly get it wrong, I squandered opportunities to

make a choice, have it verified, or find out the reason why the
choice was incorrect. Sir always found intelligent ways to
bring about faith and understanding. All I had to do was have
a go! Break out of the usual and move towards the unknown.
At the end of my annual study with Sir in Chennai in the late

90’s he gifted me an old green clock. He said that this had
been keeping the time in his father’s room for many years
while teaching his students. Then he pointed to the face of

December, 2018
ARTISTIC, LITERARY & PHILOSOPHICAL

PERSPECTIVES ON
NĀDA & YOGA

NĀDAM-VEDAM-GĪTAM-NṚTYAM
YOGIC INTERCONNECTIONS
NRITHYA JAGANNATHAN
A COMMON QUEST - FREEDOM FROM This happens even though we know deep down
DUḤKHAM that these attachments are merely of an
ephemeral nature, as the world around us and
the people we relate to constantly change. And
Since time immemorial, our ancient masters
slowly, we realise that there has to be a higher
have sought a solution to be free from human
purpose of life, a purpose that sets us free from Nrithya Jagannathan is a Senior
suffering. The Saṁskṛta word that denotes
the bonds of Karma and allows us to realise our Yoga Teacher and Therapist in
suffering is Duḥkham which is a composite of
highest potentials as humans. And so, also Krishnamacharya Yoga Mandiram
Du and Kham. Kham literally refers to space but
deeply embedded in the Sanātana Dharma with 17 years of experience. She
in the context of Yoga, refers to the space within
codes is the fourth Puruṣārtha, Mokṣa or has had the blessing of studying
one’s heart, the Daharākāśa. Anything that
liberation from the cycle of birth, life and death.
under world renowned Yoga master
pollutes or taints this sacred space is
Śrī TKV Desikachar and also under
considered to be Duḥkham and it is a natural,
Our life choices can lead us broadly in one of other senior teachers from the KYM
even essential trait of every living being to strive
two mutually exclusive directions – Bhoga – tradition.
to free itself from that torment.
experiences of a material nature and Apavarga –

liberating experiences of a spiritual nature.
She has travelled extensively
Sanātana Dharma provides an elaborate and yet,
representing KYM at various
very comprehensive blueprint for how we must
live our lives. One such model is the concept of But how do we seek and attain this elusive national and international seminars,
liberation? workshops and conferences. She
the Puruṣārtha-s – the four fold purpose of
has been invited as guest faculty at
human existence – Dharma, Artha, Kāma and
As stated in the Viṣṇu Pūrāṇa1 and numerous several educational institutes of
Mokṣa.
other texts – mana eva kāraṇam manuṣyānāṁ repute such as Women’s Christian
bandha mokṣayoḥ College, Chennai and IIT, Jodhpur.
Dharma is the basis for human existence, based
She also heads KYM’s Media
upon which, we are ordained to seek gainful
We are prisoners of the mind. Nevertheless, it is division.
employment for the sake of earning a living in
order to provide for oneself and one’s this same mind that can also set us free.
Nrithya holds a Master’s degree in

dependents. In this process, while we are not
It is in this context that the diverse philosophic Communications and is also a
forbidden from seeking sensory and sensual
and artistic traditions of our land blossom forth professional Bharathanatyam
enjoyment from the material world, that
– offering us varied paths, that we may choose artiste, with over 30 years of stage
enjoyment nevertheless must be underlined by
from, based on our individual temperament, but experience. She is the recipient of a
an understanding of what is Dhārmic. However,
all of which lead to one common goal – number of awards in recognition of
merely living a virtuous life is not adequate to
liberation from worldly existence and the return her proficiency as an artiste.
break free from the wheel of Sāñcita, Prārabdha
of the Jivātma to its source the Paramātma. Significant among her dance
and Āgāmi Karma, that keeps the soul prisoner
awards include the Yuva Kala
in an endless succession of births.
U NIVERSAL R EVERBERATIONS , I NNER Bharati title bestowed upon her by

Bharat Kalachar and Nritya Jyothi
The more we engage through our mind and RESONANCE – NĀDA, THE SUBSTRATUM OF
title from Kartik Fine Arts. She has
senses with the world around us, the more we THE UNIVERSE
also been extensively trained in
crave pleasure, and the more we grow attached
Nattuvangam and choreographic
to the objects that give us these pleasurable
As the Atharvaśiropaniṣad says – the Supreme, skills under her teacher, Śrīmati
experiences. This creates a sure dependency on
Nārāyaṇa, experienced a desire to manifest. Krishnakumari Narendran. Nrithya is
the external world and we delude ourselves into
Here, this is not an objectified desire, but more currently doing her Ph.D on “Yoga
believing that the solution in our quest for
in the nature of a throb of intentionality – and Nāṭya,” at SCSVMV University,
freedom from suffering lies in the possession of
referred to as Spanda. It is from that first throb Kanchipuram.
external objects.
that this universe is believed to have evolved.

The Mahābhūta-s, are stated in the Sāṁkhya-

kārikā, to have evolved out of the Tanmātra-s, the
subtlest of which is Śabda Tanmātra. Then, the
cycle of evolution proceeds. Out of the vast space,
thus emerges wind, and out of wind is formed fire,
from fire, water and lastly the earth.
But matter in and of itself cannot exist in isolation.

It necessarily requires the presence and the flow of
energy – Prāṇa. Again as the Atharvaśiropaniṣad
says, in the instant that the throb of desire
manifested in the Supreme, then from that
Nārāyaṇa was born Prāṇa, the first born, the vital
energy that sustains all life.
It is the coming together of the vital energy, Prāṇa,

with Agni, fire that results in the creation of Nāda –
pure, sacred, primal sound. It is this primal sound
that is representative of the supreme Brahman. The
conception of Naṭarāja’s Ānanda Tāṇḍava is but a
celebration of this meeting of matter and energy
which creates the universe. Whatever we celebrate
in this universe, whatever we experience in life and
express through the arts, be it music, dance,
sculpture, poetry or drama – everything is but a
manifestation of that Supreme Being which is
represented as Nāda.
Nāda or the primeval vibrations may be further

classified into Āhata (struck) and Anāhata
(unstruck). Āhata refers to speech, cries, noise and
other articulations that are deliberately produced.
However, the universe is pervaded by the vibrations
of Anāhata Nāda, unstruck sound. This Anāhata
Nāda is manifested through the vibrations of the
Praṇava, also known as Oṁkāra. The Brahman, is
believed to be represented in the form of “Om.”
Anāhata Nāda can be experienced deep in the

inner space of the heart through the process of
Upāsana or meditation. It is for this reason that the UNITED BY PURPOSE –
practice of Veda Adhyayanam is considered to be a Tyāgarāja, in one of his works defines
TRANSCENDENCE OF THE
very powerful form of meditation, for it can connect a Kṛti as that which expounds the true
us to the Supreme. It is out of Nāda that the Śruti
MUNDANE
words of the exalted Upaniṣad-s,
and Svarā-s emerge, giving rise to musical sounds which are marked by correct
based on melody or Rakti. Dance, brings in a visual In presenting the concept of Īśvara
placements of Svarā-s and rhythmic
component to the melody. And it is here that music, Praṇidhāna, by meditation on the
turns and pauses, which reflect true
dance, chanting and Yoga share a very fundamental Praṇava, Patañjali indicates that,
devotion and Vairāgya, which are
commonality in that they are all concerned with through the path of Īśvara-pranidhāna,
dripping inside and out with juice like
facilitating an experience of the Anāhata Nāda, one can move towards the inner light
grapes and are rich in the nine Rasa-s.2
within. When this happens, the inner and outer and also be free from the Antarāya-s
universes are in perfect resonance.
(obstacles) that inhibit clarity.

December, 2018
Kālidāsa in Mālavikāgnimitram, proclaims

As Dr. V Raghavan notes in the book, The of the Nāṭyaśāstra, indicating the inherent
Spiritual Heritage of Tyāgarāja – “Of the links that exist within these traditions.
Nāṭyambhinnarucerjanasya arts, Saṅgītam has the great power to

bahudapyekam samārādhanam3 transport us effectively, easily, immediately Thus we see that again, music, dance,
and fully from the mundane plane, and chanting and Yoga share a commonality of
Nāṭyam is a special presentation, that keep our spirit absorbed in the Spirit’s purpose in terms of refining the mind to a
suits the tastes of diverse people, offering own inner ineffable essence.”5 It is for this higher potential, through the pathway of
them a pleasant experience and bringing reason, possibly that very early in Vedic Bhakti.
the mind to a tranquil state.

history, the Ṛk-s of the Ṛgveda evolved
into the melodies of the Sāma-veda, as Music or dance, devoid of Bhakti is
Thus, we see that all three traditions of means of propitiating the Gods.
condemned as being fruitless, for it does
chanting, music and dance do play a role not lead us on the path to Mokṣa. For the
in alleviating Duḥkham, by linking us to It is also for this reason, possibly, that the Yogin too, Īśvara-pranidhāna is indeed the
something higher. This Citta Prasādanam Brahmānandavallī, while metaphorically highest path. “Saṅgītajñānamu bhakti vinā
indeed is also the aim of Yoga.
attempting to quantify the Ānanda of sanmārgamu galade manasa,” Tyāgarāja
Brahmānubhava states that the joy declares. To quote Dr. V Raghavan,
BHAKTI – A COMMON THREAD experienced by a Manuṣyagandharva Tyāgarāja adds that music is a high art
(musician/dancer) is a hundred times the form that was practiced by sages of yore
While we have no control whatsoever over joy experienced by a human who is and that its true worth is only known to
Sāñcita Karma and Prārabdha Karma, we blessed with every conceivable material one who discerns right and wrong and
can direct and even regulate the Āgāmi wealth and also blessed with a healthy also knows the worthlessness of worldly
Karma that we generate through our body. A hundred times the happiness objects, and one who has subdued his
thoughts in the present moment and every experienced by the Manuṣyagandharva is defects and conquered the six inner
ensuing moment. It is here that the the happiness experienced by the realised enemies (Kāma, Krodha, Lobha, Moha,
choices we make can lead us towards souls who are Devagandharvas (celestial Mada and Mātsarya).8
either Bhoga, which brings us back to the singers and dancers).
cycle of birth and death, or Apavarga, It is the same idea that is evident in
which sets us free.
The Yājñavalkya Smṛti 6 affirms
Patañjali’s presentation of Kleśa or mental
impurities as the source of human
In the time that the mind is entirely “Clearing your senses, memory, mind and suffering and that the path towards clarity
focused on its chosen object, all of its intellect of all other objects, the Supreme necessarily requires Sādhana or Abhyāsa
other mundane ramblings cease and Ātman, which is within oneself, shining like of the highest order of continuity and
therein lies the power that is common to a lamp should be contemplated upon.
consistence, further served by the
Yoga, chanting and to all arts – the cultivation of dispassion (Vairāgya)
transcendence of the material world and Intoning the Sāmagānam in the proper towards the experiences of worldly
its associated turmoils, even if for a brief manner and without a break, and objects.
time.
practicing it with concentration, one
attains the Supreme Godhead.”
While one can use any object of

meditation to begin with, the Yogasūtra The Chāndogya Upaniṣad7 proclaims that
indicates that the highest path to liberation of all creation, earth is the essence. Of
is that of Īśvara-pranidhāna, a deep and earth, the essence is water, of water the
absolute surrender to the Supreme with essence is the herbs; of the herbs the
the clarity that every action is offered to essence is man; of man, speech is the
this Īśvara.4
essence; of speech, poetry is the essence,
music is the essence of poetry, and the
In his book, ‘What are We Seeking’, Śrī Praṇava (Oṁkāra) is the essence of music.
TKV Desikachar specifically highlights the

role of chanting in the path of Yoga, This again reiterates the link between
emphasising that it can open our hearts sacred sound and the stilling of the mind.
and catalyse a special relationship with Bharata, the author of the Nāṭyaśāstra,
the teacher and the tradition.
himself acknowledges the Vedic sources

immersion even further, for the dancer has

to necessarily let go of his/her own
perceptions of self-image, taking on the
psyche of the character represented in
those very lyrics. Bhāvana is an essential
element be it in the process of meditating
upon the attributes of the divine (Saguṇa
Dhyānam) or in the rendition of a Kṛti or
the outpouring of Abhinaya.
Such depth of immersion is what makes

Adhyayanam, Nāṭyam and Saṅgītam Yogic
in essence. And at the height of this
immersion emerges spontaneity or
Manodharma in art. The practice of Veda
Adhyayanam confers longevity, lustre,
strength, abundance, fame and knowledge
of the Divine affirms the Taittīriya
Āraṇyaka.10 In Yoga too, the dawn of true
knowledge happens spontaneously, in a
non-linear fashion, quite like a cloudburst.
This is known as Dharmamegha Samādhi.11
In fact the Taittīriya Āraṇyaka very THE JOURNEY WITHIN

beautifully positions Svādhyāya (the REIGNING IN THE SENSES
practice of Veda Adhyayanam as per Yoga implies a state of attention, of
one’s lineage) as Brahma Yajñam and directing the mind towards an object and If such a deep immersion is necessary, the
highest among the Yajña-s, for the proper sustaining it without distraction. This senses must necessarily be withdrawn
recitation of Vedic Mantra-s flow as d i re c t e d a t t e n t i o n c u l m i n a t e s i n from any other potential distractions. This
offerings to nourish one’s ancestors and meditation. Such a state of attention is is Pratyāhāra, the voluntary withdrawal of
the Gods, securing for us their essential when we chant, ensuring the senses from the objects that attract
benevolent grace.9
adherence to all the pedagogical them, directing them instead towards
principles of chanting. The chanting of something higher. Pratyāhāra is the
A Ṣ Ṭ Ā Ṅ G AY O G A – A N D I T S the Ghanapāṭha is indeed testimony to essential bridge that enables a movement
the exemplary mental attention needed.
inwards. Naturally, in the process of
C ONNECTIONS TO A DHYAYANAM ,
chanting, Pratyāhāra manifests, as many
NĀṬYAM AND SAṄGĪTAM practitioners of chanting have
This state of meditative attention is also
the hallmark of every musician and experienced. One cannot chant with
The pinnacle of Yogasādhana is the attention, if the mind and senses are
dancer, who immerse themselves in the
process of meditation, but such a state of distracted. Pratyāhāra is also an essential
art, transcending physical limitations
concentration cannot happen unless the component when it comes to
and becoming the art. Further, mere
senses are brought under control. performance. For not only does the artiste,
perfection of technique is of no use if
Prāṇāyāma becomes the fundamental ensure that he/she is not distracted by
the artiste has not developed the ability
aspect of the Aṣṭāṅga that enables anything that happens in the concert
to completely immerse himself or
Dharaṇa. Āsana contributes to preparing venue per se, like people, coming or
herself not only in the lyrics but also be
the body for Prāṇāyāma and thence, going, disturbances in the mic system and
well aware of the context of the lyrics.
Dhyāna. Yama and Niyama as the so on, but there is also a necessary
Proficiency in Saṅgati (embellishment)
preliminary Aṅga-s are of as much, if not detachment from one’s own personal
in music and Sañcāri (elaboration) in
more importance in the journey of Yoga. situations. Very often, performing artistes
dance is not to do with how perfectly it
Let us explore each of these with regard report that they managed to rise above
is executed but the relevance of that
to chanting, music and dance.
themselves in performance, by completely
Saṅgati/Sañcāri in expressing the
mental state of the composer of that ignoring their own bodily ailments or some
lyric. Dance, as visual music takes this emotional turmoil and stress in their lives.

December, 2018
PRĀṆA – THE VEHICLE OF CHANGE Saṅgīta-ratnākara states in the chapter the process of emoting is to elevate the
on dance, that the dancer who by spectator to an experience of
For the purpose of stilling the mind, delicate movements of the body, Rasānubhavam. The Supreme Brahman
which is often compared to a monkey beautiful rhythms, and correct timing, is the ultimate embodiment of Rasa, as
that is incapable of being still, the seems to bring out the very letters of the indicated in the Upaniṣadic phrase –
Yogasūtra emphasises the necessity of songs and instrumental music, and who “Raso vai saḥ.”14 All human experiences,
Prāṇāyāma, the deliberate regulation seems to make visible through her limbs which serve as inspiration for the artiste
and extension of Prāṇa within the body, the sound of the songs and instruments are but shades and degrees of that
by means of regulating the breath which and dances, carrying her limbs like Supreme Rasa. It is said, “Sāhitya
is its vehicle. The mind that follows the flowers, fully manifesting the Rasa, is saṅgīta kalā vihīnaḥ sākṣāt paśuḥ
breath, naturally becomes stiller and stated to be the best dancer.13
puccha viśāna hīnaḥ15 – one who is
more concentrated. The close alignment devoid of artistic education is
of chanting with Prāṇāyāma is apparent What is this if not Sthiram and Sukham? comparable to an animal, minus the
to anyone who has tried to chant. Given Karaṇa sculptures that we see on horns and tail.
that chanting is a function of exhalation, Temple walls may be movements that

chanting can be used very effectively in are frozen in time, but they indicate the When personal transformation happens,
regulation of breath, as evidenced in the remarkable control that the dancer was Ahiṁsā, Satya, Asteya, Brahmacarya and
work of KYM over the years. Breath expected to have over her body.
Aparigraha become second nature. It is
work and regulation of Prāṇa is central for this reason that we venerate the
to one’s proficiency as a musician or a So subtly, we see that the various Hastā-s, Bhāgavata-s and the Vāggeyakāra-s for
dancer. Understanding and working with Karaṇa-s, Sthānaka-s, Cāri-s and so on they represent the possibility of attaining
the rhythm of the breath is fundamental are to Nāṭyam, what Āsana-s are to Yoga. higher levels of human refinement and
in the Sādhana of the musician and Posture is also an important aspect for inspire us to follow their examples.
dancer. The external expression of this musicians of every genre, be it vocal,

rhythm of breath is the tangible outward flute, veena, percussion, morsing and so T h e s u s t a i n e d p r a c t i c e o f Ve d a
form of the subtle and inner dance on. And so we see that Sthiram and Adhyayanam, also has the power of
(Ajapa Naṭanam) of the breath which is Sukham are equally relevant for the catalysing change. In the words of a
fundamental to Yoga.
musician.
long term student of chanting at the
KYM, “I realise how much chanting has
STANCE AND STABILITY PERSONAL TRANSFORMATIONS altered my reactivity. A few years earlier,
very small things would leave me feeling
The commonalities don’t end there. In very irritate and angry, causing me to
Patañjali recognises the inherent
framing the system of Aṣṭāṅgayoga, lash out at the person involved. In recent
connections between body, breath and
Patañjali lays down as the first and times, I realise that I am no longer
mind and positions the practice of Āsana
essential aspects – Yama and Niyama – feeling such irritation or anger.”
as a fundamental tool in gradually

facilitating control of the body. The social and personal disciplines. In fact,
these are considered the hallmark of a When it comes to personal discipline,
regular practice of Āsana-s strengthens
Yogi. Śrī TKV Desikachar emphasises we all know that the making of any
the body, improves flexibility and
that perfection of technique is of no artiste involves sweat, blood and tears.
enhances circulation. Thereby, the body
consequence if the practice of Yoga Our traditional masters were
is no longer an inhibitor to the smooth
does not lead to personal growth.
uncompromising in the demands they
flow of Prāṇa. Proficiency in Āsana is
made upon their students and this is
determined by the stability as well as the
The purpose of the fine arts, while why today we stand in awe in the
comfort with which the Āsana is done –
rooted in self expression, is to elevate. p re s e n c e o f a Vy j a y a n t h i m a l a , a
Sthiram and Sukham.
Given that music and dance are Kelucharan Mohapatra, a Zakhir

presented as means to reach an Hussain, a Parveen Sultana, an M S
In the Yogarahasya, T Krishnmacharya
individual’s highest potential, one must Subhalakshmi and so many more
stresses that the practice of
remember that even if the Navarasa-s exemplary maestros. The path of Yoga
Adhyayanam must be done only in a
that are depicted might seem to be of a demands no less from an aspirant, as
seated posture.12 This is also true in the
mundane nature specifically in the indicated in the Niyama-s laid down in
application of Vedic Mantra-s in the
context of human interpersonal the Yogasūtra.
performance of Yajña, many of which

can even go on for days.
relationships, the underlying thread in

THE VINYĀSA-KRAMA PROCESS Yo g a a n d M a n t r a S i d d h i i n HOLDING S PA C E FOR

DIFFERENT PATHS, COMMON GOAL Adhyayanam.
T RANSFORMATION O F T HE I NNER
SPACE – THE ROLE OF THE TEACHER
But the journey is not a one-time
G o i n g f u r t h e r, t h e r e i s a l s o a
process and doesn’t culminate at this
commonality in the process involved be it If Yoga or art is to achieve even one of
peak. Artistes are also human as are
in the singing of a Kṛti, the process of these ends, a catalyst is necessary. That
practitioners of Yoga. Hence, the
chanting, a performance or a Yogic is the teacher, the master who holds
descent and preparation for the next
practice.
space for learning and for transformation.
activity is of essence.
It is the teacher that brings our journey to

This takes the form of a bell curve and fruition, who shows us the path to
Mastery of art must foster humility, for
has three distinct phases – Pūrvāṅga, transcend the constantly fluctuating inner
only then can one let go and offer
Pradhānāṅga and the Uttarāṅga.
spaces of Duḥkha and Sukha into the
everything that has been achieved to
the Supreme. For after all, we are stillness of Ānanda – a sublime joy that
The Pūrvāṅga is the preparatory phase, transcends the material.
merely well-tuned instruments that are

encompassing all the Sādhana that is
blessed to receive, hold and share

needed to achieve perfection in chanting, It is said, “Devam bhūtvā devaṁ yajet,”16
divine grace.
a certain musical composition, the – become a God to worship God. But,

depiction of a specific character or the only the highly competent teacher can
It is only when this Visarjanam or letting
accomplishment of a specified goal show us how to effect this transformation
go happens, that artistic experience
posture/Yogic technique.
is in our lives, walking along as a guide,
become an Anubhūti and when the
experience of Samādhi bestows Viveka, as we navigate our chosen path. As Yoga
The Pradhānāṅga marks the phase of and Adhyayanam are both Anuśāsana
discernment.
reaching the goal – the peak. It is at this Śastrā-s, music and dance are equally
point that the artiste disappears and only so, and the role of the teacher can never
the art shines forth. This is the peak of be over emphasised.
Sahṛdayatvam in the arts, Samādhi in

MAṄGALAM At the core of each of these traditions, the Ramakrishna Mission Students Home,
focus is on reducing the impurities of the 1957, pp42
mind and enabling the mind’s refinement. 6. Yajñavālkya Smṛti, N S Press Edition, pp
It is not without reason that the legendary
True stillness and stability happens, 349-50, III-5
T Balasaraswathi compared the Mārgam to

7. Chāndogya Upaniṣad
an experience of a temple, moving slowly according to Yoga when the Prāṇa flows
8. The Spiritual Heritage of Thyagaraja, by C
from the embellished Prāhāram-s to the smoothly and without any impediment.
Ramanujachari and Dr. V Raghavan,

quiet sanctity of the Garbha Gṛha.
Ramakrishna Mission Students Home, 1957
This stillness gradually leads one to

9. T a i t t ī r i y a Āraṇyaka 2.10,
It is not without reason that the Saṅgīta Nādanusandhānam, the inner experience
Bhattabhāskarabhāsyopetam, Pp 229
Va g g e y a k k a r a - s e s t a b l i s h e d a c l e a r of Anāhata Nāda which is the source of 10.T a i t t ī r i y a Āraṇyaka 2.10,

Paddhati to be followed in the rendition of this universe. It is this resonance that is Bhattabhāskarabhāsyopetam, Pp 232
music.
the ultimate goal of most Vedic and Indic 11.Patañjali-s Yogasūtra IV.29
traditions – be it music, dance, chanting 12.Yogarahasya I.79
It is not without reason that Patañjali or Yoga.

13.Saṅgītaratnākara of Sarṅgadeva, Vol IV on
explains in such depth the various means Dancing, translated by Dr. K Kunjunni Raja
by which the mind can be brought to a REFERENCES and Radha Burnier, The Adyar Library and
Research Centre, 1976, pp 185-186
state of attention, following the path of

14.Śikṣāvallī, Brahmānandavallī, Anuvakā 7
Aṣṭāṅga.
1. Viṣṇupūrāna
15.Nītiśatakam of Bhartṛhari-śloka 12
2. The Spiritual Heritage of Thyagaraja, by C 16.Anandkumar Swami - Ref: Figures of

It is not without reason that it is said,
Ramanujachari and Dr. V Raghavan, Speech Or Figures of Thought?: The
Ramakrishna Mission Students Home, Traditional View of Art By Ananda Kentish
“Śabdabraḥmaṇi niṣṇātaḥ parabrahbaṁ 1957, pp 36
Coomaraswamy, pg.164, World Wisdom
adhigacchati.” 3. Mālavikāgnimitram, Act I, Verse 4
Inc., 2007,
4. Patañjali-s Yogasūtra I.23 to I.29
5. The Spiritual Heritage of Thyagaraja, by C

By following the divinity that is inherent in the
Ramanujachari and Dr. V Raghavan,
sacred word, one can reach the Supreme.

EXPLORING THE REALMS OF SOUND

SANDHYA CHANDRASHEKAR IN CONVERSATION WITH
AURELIO HAMMER
In conceiving the core theme of this edition of Darśanam, our editorial advisors
specifically emphasised that we must explore the integration of sound in healing and
also the underlying threads that bind all aural and musical traditions of the world.
Team Darśanam is very grateful to Aurelio Hammer, renowned ethnomusicologist and
sound healer for taking the time to share his deep and truly eye-opening insights into
multiple dimensions of sound as a system of healing in itself, of sound as a means for
transitioning situations, of sound as a primal response of early man to the
magnificence of nature, and of sacred sound as the bridge to the Infinite. We also
thank Ms. Sandhya Chandrashekar, Research Associate, Research Department of Aurelio, the Creative Director of
KYM for her support in bringing this article out. SVARAM, is a musician, educator,
ethno-musicologist, researcher,
Spanda is the primal throb, the first vibration sound designer and sound healer.
Cymatics is a field that has gained a lot of
which sets it all into movement. And then, Through his extensive travels and
attention in recent times. What is the
there is Sphoṭa, a burst of vibrations, which is studies all around the world,
relationship between the ancient Indian
loaded with meaning. Dhvani would be the Aurelio has become a noted
understanding of Nāda as the basis of the
audible sound in the environment.
pioneer in the development and
entire universe and the science of
manufacture of innovative musical
cymatics? instruments, whether it be simple
Even in other traditions, including the
Christian tradition, this idea is presented. A inviting ones for beginners, or
Cymatics is basically the science of the wave. instruments specially designed for
German Professor called Marius Schneider,
The subtle waves tell us about the invisible use in sound healing.
who was an ethno-musicologist in the 70s/
domain of reality. Basically, Cymatics helps us
80s, explored the creation myths of humanity,
to see that underlying all phenomena are Aurelio's biggest undertaking so
and I think he got together 80 or so of these
vibrations, expressed in different frequencies.
far was launched in 2003: SVARAM
creation myths, and in almost all of them,
sound has critical role in creation. “First, there Musical Instruments, Vocational
In a typical visual demonstration of Cymatics, Training and Research Station.
was sound.” There is consensus on that idea.
lycopodium dust is spread on a thin Conceived initially as a way to

membrane, and is exposed to sound realise Aurelio's experiments with
I think there is a rapid evolution in the interest
vibrations, and interesting patterns emerge in new instruments and tunings,
in Cymatics in the present time, because there
the dust. The fascinating thing is that, when SVARAM has evolved into an
is a strong need, especially in the young
the frequency of the vibration is changed, the Auroville commercial unit which
generation, to know more about this. They are
patterns also change. So, one outcome from sells a wide range of easy-to-play
realising that the materialistic and mechanistic
the Cymatic science is that we can say, “This instruments from various cultures.
paradigm of science possibly shows us only
s p e c i fi c f re q u e n c y i n t h o s e s p e c i fi c SVARAM has enabled Aurelio to
the surface of things, and they wish to delve
circumstances create, again and again, a collaborate with notable
deeper. The surface of reality is its mechanics,
pattern of five! So, how is this frequency researchers and musicians: the
or how things appear. Cymatics goes into the
related to a pentagram pattern? Why is it that prototypes of Klaus Fessmann' s
dynamics of reality, into how things change,
another frequency expresses itself in patterns singing stones, for instance, were
and transform into other things.
of eight? Or in an even or uneven pattern?”

developed at SVARAM using
So, there are many layers to it. Now, schools locally sourced granite, and
I would say that in Cymatics, we are touching Alexander Zhigarev's expertise
of Cymatics are looking at the fundamental
the hidden vibration behind everything. The with brass bells has led to the
evolutionary principles, such as how was life
concept of Nāda Brahman speaks about it. creation of SVARAMs tuned plate-
formed, or even farther back, how the first
Nāda is the Original Sound. Even before that bells.
organic molecules came into being from a
you would have Spanda. You can say that

pure mineral-material state (the pre-organic hospitals, and every help was needed. So, proof is in the pudding - for those people
state), what are the principles of an musicians who were still at home, went and who do Prāṇāyāma, the effect is evident.
organism, how and by what forces is it played for them. Through music, they were
shaped, and here, there is this beautiful, consoling, calming and giving the wounded Therefore, while music speaks to the
direct connection with the ancient dictum of people hope. But as it developed, music emotions of the listener, sound therapy
Nāda Brahman, that the whole world is therapy was established into a clinical works with meta music. It looks at how
Sound, that at the origin of everything, there science. Now, music therapy basically sounds themselves work on the physical
is a movement, a vibration. We know that bridges the fields of music and psychology. and mental aspects of the person.
every movement produces a sound, which So, to be a music therapist, you need to be
we learn to discern and measure through a musician, and also study five years of What is your experience with sound and
frequencies. I think there is a great need to psychology. Music therapy explores the role chanting from various traditions around
understand how sound and specific of music in the psychological dimension of the world, such as Vedic Chanting,
frequencies influence, move and shape our being.
Gregorian chanting , Buddhist and other
matter.
traditions of chanting? What do you see
In recent years, I see an emergence and as the meeting points between chanting
What do you feel is the role of sound strong interest in sound-work or sound
in these various traditions?
therapy or music therapy in healing? healing. Here, we are not merely looking at
how music works on one’s psychology,
Music, nowadays has become a commodity
There is an interesting shift happening rather, we are also looking at how
of the materialistic and consumeristic
between music therapy and sound-work or frequencies work on your physical body. I
society. And now that it has become a
sound healing because, music therapy think it is very clear that we cannot separate
product, it has a very specific function,
basically re-evolved and emerged in the sound-work from the role of subtle energies
such as entertainment. But, if you look into
west in the time of the world wars, because - you talk about Prāṇāyāma in Yoga therapy.
any of the ancient or indigenous cultures,
there were so many wounded people in the what is Prāṇa? How can you prove it? The
music was the basic link to the sacred. It

December, 2018
was the link between this tangible reality, movement. In a movement where, from a course, we have always had substances,
and the unseen and unknown reality. brain wave research perspective, you Oṣadhi, herbal medicine. so we can say
There are no peoples in the world who can say that you are not in your usual that is what those people used, but if in
do not have music or chant. This is a thinking, analytical mind, but you come that case, what about an emergency? In
cultural universal.
into a much deeper layer of the mind. I my own journey with forest dwelling
believe that (and it would be interesting hunter-gatherer tribes, I have been in a
While thinking about the primal music to verify this through brain wave few situations where there had been a
making of humanity, I keep coming back imaging), during shamanistic terrible accident, broken bones and
to the question, when and how did it experiences, people come into an alpha open wounds, so what did those people
start? If you think about our evolutionary state. The receiver and the chanter both, do in the middle of the jungle? I have
arc from primates, what was that early so, that means that the chanting would seen that in these situations, sound is
impulse of vocal communication? Was it connect them both to what Māṇḍūkya always involved.
in expression of fear, or some similar Upaniṣad describes as the Svapna state.

emotion? To me there comes this mental It basically brings you to this dreamlike People come together around the injured
image- a clan of our early ancestors sphere where there is a different layer of person, make loud, buzzing noises, etc.
sitting together at dawn, and then there the mind working, and in that layer, we This was a process, a kind of first
was this beautiful sunrise, and the clan go from a pure vicarious speech to an response.
was just struck by awe, Adbhūta, and in-between layer. We come into a
just spontaneously expressed their awe different perception of reality in which So they would meet the injured
in tone.
images, sensations and various deep person in this space of anxiety that he
experiences manifest themselves. In my is in, and then bring him down to a
I dare say that even modern urban forms experience, this is an almost, but not calmer plane.
such as rap and hip-hop are only exactly, trance-like state.
evolutes of that early burst of inspiration. Yes, and on that theme, I always say that
If you examine them leaving aside Alertness is a universal requirement in one of the prime medical instruments of
personal opinions, maybe rap and hip- chanting. Both in Gregorian chanting humanity over its entire course of
hop are just the latest expressions of and in Vedic Chanting, you have to be evolution, has been the rattle or drum. I
such a spontaneous outpouring, or very alert, if you are to follow the have been in few of those situations, like
maybe even a contemporary twist, intonation, pronunciation, etc.
half-day rattling sessions, in shamanistic
because music is a connection to ceremonies, and then, for a western-
another dimension of our reality, a What is fascinating in Vedic chanting is trained mind and an academic
bridge. Sound is the Jacob’s ladder that all of the hundreds of thousands of background, it is impossible not to ask
between manifest reality and the un- verses happen in a Tri-śruti (three-note) “How is all this working?,” What is the
manifest reality. Sound reconnects us configuration. So what does it do to the principle behind it all? I experienced it
with the origin, the ancestral energies, being? Gregorian chanting is melismatic, even when I came here to Tamil Nadu, in
and it can bring us into our visions and like Sāma Veda, where a single syllable some temple festivals, when the priest
intuitions. In my years of learning, I had is moved along several musical notes in gets into this zone, shaking rattles and
the good fortune of being with isolated succession. However, lots of early waving them around your head and ears
tribes who, to this day, live like our chanting traditions have a very narrow and stuff like this… Apart from the
ancestors did in the stone age, range, similar to the Tri-śruti format.
religious angle, from a purely experiential
shamanistic people in remote corners of perspective, what is he doing? He is
the world, and I have also been in Please share with us your insights on creating a white noise. What does this
monasteries where Gregorian chants how sound has been used in healing. white noise do? It basically switches you
were sung, and then I discovered Vedic from a state of hyper-alert mind, the
chanting– it was all a golden thread.
Ask yourself this. What was the beta wave, when you are in pain and
medicine of our earliest ancestors, say, panic, to a stunned, trance-like state. It
I think, one common principle is that 40,000 years ago? Modern western calms the mind and brings it into a
chanting is an energisation of the system medicine is a few centuries old. We have different perception of the body, and
from its pure mechanistic reality into a had millennia-old healing traditions like there, maybe you can say that trance is
more fluid reality. Chanting brings us into Āyurveda. Suśruta developed surgery a natural tranquilliser. When a major
the wave nature. When I am chanting, I some 2000 years ago. But before that, injury happens and adrenaline spikes,
come into movement, a very specific what was the medicine of humanity? Of you are in a state of shock, and then

even half an hour after the accident, Is it through sound? there would still be this noise, this “blah
though you are hurt, you don’t even feel blah” in the air, and sacred music was
it!
Yes. It can be expressed through touch, once again the best means of retreating
or through sound.
back into silence.
In such a scenario, sounds are used to

enhance this state and keep it going till I never knew how I would come into the I have also had the opportunity to
treatment is possible. Later, when the actual practice of sound, but I’ve had observe the effect of Gregorian chants
injured person’s body is carried back varied phases in my life. For a while, I on other monks in the monastery.
into the village, everyone assembles in had a withdrawn, monastic phase, when Sometimes there would be conflict and
the hut. While bandages and herbal I lived like a hermit. I didn’t see people tension among the monks, but then you
pastes are applied, the elders gather for many months, up in the mountains would have the daily Vesper followed by
around, singing soothing chants. I said during winter, and later, it was very half an hour of chanting hymns, after
to myself, “Wow! isn’t it amazing?” difficult for me to transition from those which if you looked around at the faces
Because that’s the prime means! Of phases into the everyday reality of of everyone, you could see that the
course, medicine is integral to this interaction, from silence into noise. conflicts had resolved themselves, and
process, but the actual means of During these times, music became a the tension had disappeared.
convalescence was, let us say, the care beautiful means of transitioning between
of the community that was given the deep silences of my inner world, into So, that is the power of chants and music in
towards this person, both as first expression and communication with the a sociological and communal context, but
response, and as part of the recovery outer world. On the other hand, then to understand its role at the level of the
process. How is that care expressed?
sometimes we would have visitors at the individual, observe how every mother uses a
monastery. Long after they have left, sing-song chant to console a crying baby, or
a lullaby to ease the baby into sleep.

Therefore, there is evidently a calming, sedating

function of music, but on the other hand there is
also an encouraging, energising, invigorating
function of sound, and together, these two form the
principle of every healing work. You know, it’s like
balancing the rising solar energy and the reflective
lunar energy. Thus, you come into the principle of
Haṭha in a certain moment. when those two
principles are balanced, you merge into that
Oneness, into the Nāda, into the drone out of which
we all come, from which everything has risen. At
that point, there is no differentiation, because it is a
state of true and complete integration. I think that’s
what we are all aiming at. That would be the next
step of evolution, where we can merge into that
oneness and still be brilliantly aware.
Can you tell us more about your understanding

of the listening apparatus, and of how sound
interacts with the body and the nervous
system?
There is a brilliant study by Dr. Alfred Tomatis, we

call him the ‘Einstein of the Ear,’ and he talks about
the role and the principles of hearing. He spent 40 –
50 years on this. We definitely know from his study
that we hear in 2 different ways. We all know that
we hear by sound waves vibrating our tympanum
or ear drum. But a deeper, stronger and more direct
hearing happens directly through a system called
as bone conduction. Sound vibrations not only
meet the ear membrane, but also meet the entire
body, and in turn, those vibrations are conducted
by bone into the auditory system. Apparently,
sound conducted by bone reaches faster to the
brain.
This also makes me think of the fact that sound

travels much faster in water than in air, and we
are mostly water. I am thinking about the role of
our own water content in sound conduction. Is
this right?
Exactly. So, in a way, we can say that the whole and bones. We can close our ears, but the Vagus Nerve if you want to
body is like an ear. We perceive sound vibrations we still hear sounds, through bone understand how sound and vibrations
with every cell of our body. My teacher always said conduction.
work on the system. The Vagus Nerve
that the skin is the actual organ of hearing. The seems to have a key role in triggering
tympanum is very specialised for hearing, of The Vagus Nerve is connected with the parasympathetic nervous response, to
course, but the whole skin is like a membrane. whole viscera. I recently read a research calm the system down. This only
Vibrations penetrate and suffuse everything in our report from New York that says that it is emphasises the healing possibilities of
body, and we hear with all the cells, tissues, organs important to understand the workings of sound. But on the same note, it becomes

terribly important to pay attention to what from it. This is a very important thing to healthy heart has variability. It is not working
we are exposing ourselves to, in terms of understand, because healing is not always like a robot at a fixed rhythm, but varies its
sounds, and words. We have to be very seeking harmony. Dissonance is a very pace according to the need of the individual.
conscious of how we go about in using important factor in growth. We progress This adaptability is the sign of a healthy
sound from a therapeutic perspective.
through life through difficulties, diseases heart.
and flux. These are challenges that can

What are your thoughts about the future bring us to a higher level of awareness and And so, in conclusion?
of therapy and healing using sound? integration. They are essential for progress.
I think after centuries of trying to

First of all, I think the real healer is inside. A We look at dis-ease as discomfort, as comprehend reality, and thereby, its
healer does not cure, he only awakens, something to be removed. Rather, we must applications with regard to our wellbeing,
encourages and stimulates the self-healing l o o k a t i t f ro m t h e p e r s p e c t i v e o f through quantum physics, we have come to
capacity within the patient. Basically, healing Salutogenesis, which means looking at the a turning point in our understanding, and
happens when there is a shift and system as a dynamic process of health or this turning point involves the vibrational
transformation of consciousness, of well-being. We are healthy when we are able reality of our world. The exploration does
becoming aware. A disease is a flux, an to integrate even the uncomfortable.
not stop, but even with several further
opportunity for growth and change. While decades of striving, I do not believe the
dealing with a disease, we do not attempt to Therefore, resilience in the face of mystery will reveal itself fully. That is the
fight it. Rather, we participate in the problems, or enduring and eventually process of evolution. Hopefully, becoming
exploration of what might be at the root of it. overcoming problems is health. Health is conscious of this will also affect our
When that root is understood, we can not “not having a problem.” Am I right? attitudes in our own lives and relationships,
integrate that traumatic experience and in personal, social and environmental health.
change it into learning experience, through In moder n language we talk about Perhaps it will lead us to the understanding
which we have the possibility of growing. resilience. When there is resilience, or that we are one global humanity. And from
When we learn from disease, it has served adaptability to whatever is happening, then there, we have to see what happens next.
its purpose, and we are able to move on we are healthy. For instance, we know that a

NĀDHĀNUSANDHĀNA
AN OVERVIEW OF THE HAṬHAYOGIC PRACTICE
DR. JAYARAMAN MAHADEVAN
INTRODUCTION NĀDĀNUSANDHĀNA IN THE YOGASŪTRA-S?
Keeping in line with the theme of this issue of Though the term Nāda is not directly found in the
Darśanam, this article endeavours to present a Yogasūtra, there is a very important discussion on
general overview of a Yogic practice called Praṇava. Praṇava is regarded as the primordial
Nādānusandhāna based on the text sound cutting across disciplines of ancient
Haṭhayogapradīpikā of Svātmārāma with inputs origins in India which is evidenced by the
from Jyotsnā commentary on the text by following Purāṇic reference:
Jayaraman Mahadevan is
Brahmānanda. In the process, a brief relevant
t h e D i re c t o r, R e s e a rc h
reference on the theme from Yogasūtra-s is also oṅkāraścātha śabdaśca dvāvetau brahmaṇaḥ
D e p a r t m e n t ,
presented.
purā ।
K r i s h n a m a c h a r y a Yo g a
kaṇṭhaṁ bhittvā viniryātau Mandiram, Chennai, India.
WHAT IS NĀDA? tasmānmāṅgalyakāvimau|| He holds a PhD for his
Bṛhan-nāradīya-purāṇa (1.51.10) research dissertation on
Nāda is defined as (Vācaspatya* pg.4030)
“The Doctrine of
Praṇava and the word Atha are the two first T a n t r a y u k t i ”
nābherūrdhvaṁ hṛdi sthānāt mārutaḥ
sounds that emerged from the throat of the from University of Madras.
prāṇasaṁjñakaḥ। creator and hence both are considered very His area of work at KYM
nadati brahmarandhrante tena nādaḥ auspicious. includes critical edition and
prakīrttitaḥ।। translation of hitherto
In Yogasūtra 1.27 Sage Patañjali states that Īśvara unpublished works of Yoga
is indicated by the term Praṇava. The following that are inscribed in palm
Above the navel, from the place of the heart, till
commentary to this Sūtra by Svāmi Vivekananda leaf and other such
Brahma-randhra (Suture or aperture in the crown
brings out the significance of Praṇava Nāda:
traditional material. He has
of the head) Prāṇa resonates. This resonation of
to his credit ten books and
Prāṇa is called as Nāda.
“In making a sound we use the larynx and the an equal number of papers
palate as a sounding board. Is there any material in peer reviewed journals.
ākāśāgnimarujjāto nābherūrddhvaṁ
sound of which all other sounds must be He has participated and
samuccaran ।
manifestations, one which is the most natural presented papers in national
mukhe'tivyaktamāyāti yaḥ sa nāda itīritaḥ ।। sound? Om (Aum) is such a sound, the basis of all and international academic
sounds. The first letter, A, is the root sound, the conferences and workshops
That which takes birth by the combination of key, pronounced without touching any part of the in India and in countries like
Ākāśa (ether), Fire (Agni) and Marut (Air) and tongue or palate; M represents the last sound in USA, Canada, Thailand and
moves above the navel and is intensely manifest the series, being produced by the closed lips, and China. He is on the review
in the mouth is called as Nāda.
the U rolls from the very root to the end of the board of the International
sounding board of the mouth. Thus, Om Journal of Yoga: Philosophy,
Going by the above definition it can be seen that represents the whole phenomena of sound- Psychology and
Nāda is Prāṇa and its reverberation that finds producing. As such, it must be the natural Parapsychology. Apart from
special manifestation through the organ of symbol, the matrix of all the various sounds. It this, he gives classes and
speech.
denotes the whole range and possibility of all the lectures in Yoga philosophy
words that can be made.” (Rāja Yoga pg.127-128) and healing chants
programmes of KYM.
*Vācaspatyam is a Sanskrit Lexicon, of 5442 pages, by Pandit Taranatha Tarkavacaspati (1812-1885), Calcutta that that takes into
account the entire spectrum of Sanskrit literature in explaining any given Sanskrit term.

December, 2018
Further, Sūtra 1.28 presents the NĀDĀNUSANDHĀNA - ITS WHO IS ELIGIBLE FOR
utilisation of this Praṇava-nāda. It DEFINITION A ND ITS P RACTICE NĀDĀNUSANDHĀNA?
states that Praṇava has to be repeated
 
along with the reflection on the

The fourth Upadeśa (chapter) of Before proceeding further, Svātmārāma
meaning it indicates i.e Īśvara. This can
Haṭhayogapradīpikā begins (4.1) with a clarifies as to whom the practice is meant
be considered as the discussion on
salutation to Lord Śiva who is also for? He states (4.65):
Nāda and its utilisation in meditative

called as Ādinātha or the first teacher
purposes (Anusandhāna) in the
in the tradition of the Nāthayogins, aśakyatattvabodhānāṁ mūḍhānāmapi
Yogasūtra-s, the principal text of Yoga.
This verse of salutation incorporates sammatam।

the term Nāda:
NĀDĀNUSANDHĀNA IN HAṬHAYOGA proktaṁ gorakṣanāthena
T RADITION nādopāsanamucyate॥
namaḥ śivāya gurave
nādabindukalātmane
Originally, the term Nādānusandhāna is Nādānusandhāna, a practice that has
found in the Haṭhayoga texts that Salutations to lord Śiva who embodies been prescribed by Gorakṣanātha, is
come after the Yogasūtra-s of Patañjali. Nāda, Bindu and Kala. agreeable and accessible even to those
Though there are many texts in the who are not intellectually capable of
Haṭhayoga tradition, It is worth noting that Nāda in this grasping subtle principles.
Haṭhayogapradīpikā, a 15th CE text by context is defined in the Jyotsanā

Svātmārāma is considered one of the commentary to Haṭhayogapradīpikā as
Thus, it becomes evident that a
finest works in this field. It is studied meditation that is based on Nāda is
widely to understand the fundamentals kāṁsya-ghaṇṭā-nirhrādavad equally applicable to the entire range of
of Haṭhayoga.
Sādhaka-s – Manda (the beginner),
anuraṇanaṁ nādaḥ
Madhyama (intermediate) and Uttama
Svātmārāma, the author of (the advanced).
Nāda refers to the reverberation (inside

Haṭhayogapradīpikā states that there the body) that is similar to that of the
are four limbs of Haṭhayoga (1.56):
reverberating bronze bell.
TWO METHODS OF PRACTICE OF
NĀDĀNUSANDHĀNA
āsanaṁ kumbhakaṁ citraṁ IMPORTANCE O F NĀDA IN YOGA
mudrākhyaṁ karaṇaṁ tathā। Method - 1: The first method of
atha At the very outset, the importance of Nādānusandhāna is found from verse 67
nādānusandhānamabhyāsānukramo Nāda in achieving the Yogi goal of to 81 of the fourth chapter of
focus of the mind is established by the Haṭhayogapradīpikā. The general
haṭhe॥
following verse (4.29):
s u m m a r y o f t h e fi r s t m e t h o d o f
Nādanusandhāna is presented below.
Āsana-s, various kinds of Kumbhaka-s
indriyāṇāṁ mano nātho mano
(Prāṇāyāma), the finest tool called
nāthasyatu mārutaḥ Being seated in Muktāsana a Yogi should
Mudrā and Nādānusandhāna. It is in
mārutasya layo nāthaḥ sa layo practice either the Śaṇmukhī-mudrā or the
this sequence, the practice of Haṭha
Śāmbhavaī-mudrā and should attain one
should be done.
nādamāśritaḥ॥
pointed focus of the mind. With this focus
he should now turn his attention on the
As can be seen in the verse above, The senses are controlled by the mind. Nāda in the Suṣumnā that has been
Nādānusandhāna has been listed as The mind is controlled by the breath. cleansed of its impurities by various
the final limb of Haṭha that comes after Absolute control over the breath Prāṇāyāma practices. (4.67,68). There are
a good level of mastery in Āsana, happens when the mind gets four stages in this practice (4.69-77). They
Prāṇāyāma and Mudrā. It is to be dissolved. The dissolution or are:
noted that the chapterisation of the absorption of the mind is based on

Haṭhayogapradīpikā is also based on Nāda.
• Āraṁbha
this sequence of the tools of Haṭha.
• Ghaṭa
Hence, Nādānusandhāna is discussed
• Paricaya
in the fourth Upadeśa (chapter) of the
• Niṣpatti
text.

December, 2018
Āraṁbha Vīṇa and Veṇu
Sound of Mardala Drum

Ghaṭa
Rumbling sound of Bheri Drum

Paricaya
Tinkling of Jewels
Niṣpatti
In the Āraṁbha stage – when the Prāṇa resembles the sound of the rumbling Vīṇā - the lute and Veṇu – the flute are
after entering the Suṣumnā reaches the sound of the kettle drum - Bheri.
heard.
Anāhata-cakra – which is variously

indicated as the space of the heart – solar In the Paricaya stage – the Prāṇa now Thus, the movement of Prāṇa in these
plexus, a Nāda that generates bliss is rises further and reaches the place in four stages in the Suṣumnā Nāḍī leads to
heard. It resembles the tinkling of various between the eyebrows which is Ājñā- total absorption – Laya – this bestows
jewels. When the practitioner focuses on cakra. Then, the sound of the drum called bliss that is unsurpassable. Svātmārāma
this sound, he becomes blissful, becomes Mardala is heard here. This is the place of even states, “Let there be liberation or
free from disease, his/her heart is full of all Siddhi-s – divine powers. This also not, here is perfect bliss” (4.78). Further,
Prāṇa, divine fragrance emanates from delivers a Yogi from pain, old age, he states, “In the hearts of great Yogin-s
him/her and he/she shines with lustre.
disease, hunger and somnolence.
who remain in a state of Samādhi through

concentration on Nāda, there is a
In the Ghaṭa Stage – the Prāṇa rises from In the fourth and final stage of Niṣpatti – plentitude of bliss, unequalled, surpassing
the heart to the throat region – the region the Prāṇa rises and reaches the aperture all description and which the blessed
of Viśuddhi-cakra. The Nāda that emerges in the skull which is called the teacher alone knows (4.81).”
Brahmarandhra and here the sounds of

METHOD - 2 OF NĀDĀNUSANDHĀNA During the initial stages various Certain guidelines in this practice are
prominent sounds are heard but when to be followed (4.87 - 89) :
The second method o f progress is made, more and more

Nādānusandhāna is described from subtle sounds are heard.
In case of coexistence of greater and
verses 4.82 to 89 of subtler inner sounds one should allow
Haṭhayogapradīpikā. The summary of In the beginning various sounds the mind to focus only on the subtler
the practice is given below.
resembling those of the ocean, the sounds.
cloud, the kettle drum and the

With the thumbs one should close Jarjhara (tabor) drum is heard. In the Even though attention may shift from
one’s ears and focus the mind on the middle, sounds that resemble the the gross to the subtle sounds or vice
Nāda – the inner sound. Through this drum, the conch, the bell and the horn versa, the mind should stay with the
process of sustained hearing, the are heard. Finally, the sounds that Nāda and should not be allowed to
inner sound drowns the external resemble those of tinkling bells, the drift away elsewhere.
sound. By this Yogi overcomes all flute, the Vīṇā and the bees are heard.
distractions and becomes happy (4.85,86)
In whatever inner Nāda the mind gets
(4.82)
focused, gets steadiness, that is the
pathway for the mind to get dissolved.

December, 2018
HOW NĀDĀNUSANDHĀNA CAPTIVATES THE MIND
A series of beautiful examples are provided to illustrate how Nāda captivates the mind and makes it focused (4.90-97):
As the bee drinking honey, cares not Nāda is like the sharp goad that Nāda makes the mind totally
for the fragrance, so the mind curbs the volatile action of the immobile, like the bird that has lost
absorbed in Nāda does not crave for elephant in rut called the mind.
its wings.
objects outside.
Nāda is like the net that Nāda is also like the hunter Nāda is also like the bolt that N ā da m a k e s t he m ind
captures the restless deer who kills the deer called the locks down the horse called motionless like the serpent
called the mind.
mind – this refers to the the mind and channelises its that is hearing music, and
state of transcending the movement.
does not move away
mind.
anywhere.

NĀDANUSANDHA – THE FINAL STEPS Finally the texts states that Nāda is the Śakti of the Paramātman
and when once the mind takes recourse to this Śakti and gets
absorbed, all that remains is Silence and that is the
The dissolution of the mind that was absorbed into Nāda is
establishment of the Consciousness in its true nature
detailed in the final set of verses on Nādānusandhāna
(4.101-102).
(4.98-102).
It states that the fire burning in a piece of wood, subsides along SELECT REFERENCES
with the burnt wood. So also, the mind directed to Nāda is
absorbed along with it. In essence, it means, Rajas and Tamas 1. Tarkavachaspati, Śrī Taranatha (1962), Vacaspatya,
are absorbed by Nāda which is Sāttvika. And with intensification Chowkhamba Sanskrit Series, Varanasi,
of the practice of Nādānusandhāna and Vairāgya, in due course, 2. Haṭhayogapradīpikā of Svātmārāma with the commentary
even this Sāttvika activity also dies down and the mind also Jyotsnā of Brahmānanda, (1972)The Adyar Library and
dissolves into its cause. (4.98)
Research Center, Madras
3. Vivekananda, Swami, (1920), Rājayoga, Weed-parsons

Further, the text observes, the inner Nāda stems from the self- Printing company, New York (pdf of the book accessed from
luminous consciousness. The mind that focuses on the Nāda the web: https://archive.org/details/
gradually gets absorbed into the light and that is the eternal RajaYogaSwamiVivekananda1920)
abode of Lord Viṣṇu. (4.100) This is indeed an unique idea –

Sound merging into light.

PRAṆAVA IN YOGA AND NĀDA

ŚRĪ S SRIDHARAN
Śrī S Sridharan is a former

Managing Trustee of KYM.
He continues to be an active
member on the Board of
Trustees of KYM and senior
mentor to the teachers as
well. He is a Member of the
Governing Council of the
MDNIY (Morarji Desai
National Institute of Yoga),
Department of Ayush,
‘Praṇava,’ according to Amarakośa (1.6.4) is beyond words and thoughts. Also, Praṇava is the Ministry of Health & Family
equal to ‘Om.’ (oṁkāra praṇavau samau) form of Īśvara. It will give the knowledge about Welfare, Govt of India, and
‘Praṇava’ means “that by which He is praised Him. He further quotes that “The Supreme Being, New Delhi, an apex Body for
perfectly” (prakarṣeṇa nūyate stūyate aneneti Brahman, which is inside and is bliss in the form
Yoga in India. He is also one
praṇavaḥ).1 Also “that which praises God is of Praṇava. It is denoted by
Praṇava or Omkāra” (praṇauti stautīśvaramiti ‘a,u,m’.” (Atharvaśiropaniṣad).5
of the members of the
praṇava oṁkāraḥ). 2 That which protects is Indian Yoga Association. A
‘Omkāra’ (avati iti oṁkāraḥ).
The next Sūtra (1.28) says that “One has to senior banker by profession,
repeatedly recite the Praṇava and also reflect on
Mr. Sridharan held senior
According to Yogasūtra (1.27) “Praṇava denotes the meaning of Praṇava.” (tajjapaḥ
Him” (tasya vācakaḥ praṇavaḥ). The ‘Him’ here tadarthabhāvanam) According to Yogācārya T executive positions in a
denotes “Īśvara”about whom the previous Sūtra-s Krishnamacharya in his commentary to Yoga public sector bank before
(24, 25 and 26) talk. Essentially these Sūtra-s say Sūtra (1.2), “Bhāvana, here, means to firmly place opting for voluntary
that “Īśvara is the Supreme Being (special person) the mind on the form of the Supreme Being
retirement in 1997. He has
whose actions are never based on which happens through the strength of
been a student of Śrī TKV
misapprehension. He knows everything there is Meditation” (bhāvanaṁ tadākāreṇa
to be known. He is eternal, the ultimate teacher cittasthāpanam tacca dhyānabalāt bhavati).6 He Desikachar since 1981 and
and the source of knowledge.”3 In the Yogavallī further states that “the form of the Supreme has over thirty years of
(commentary on the Yogasūtra) Yogācārya T Being to be meditated upon is pure and experience in teaching Yoga
Krishnamacharya says “Praṇava” is “that which is auspicious, which is beyond Nature (Prakṛti), is of
in this tradition both as a
new eminently (prakarṣeṇa nava iti praṇavaḥ).4 the size of the thumb and resides in the heart.”7
Yoga teacher trainer and a

He further states that it denotes and announces
the one who is beyond time, the teacher for all, Yoga therapy consultant.

The next Sūtra indicates where this the highest through music. In the song meaning (Artha) and the same is
takes one to (tataḥ “mokṣamu galadā……..,” he says that achieved through Nādopāsana.
pratyakcetanādhikamaḥ api from Praṇava Nāda emanate the seven

antarāyābhāvaśca). “The individual’s notes (Saptasvara) the use of which REFERENCES
perception is taken inward and will in results in music. ‘Nāda’ means ‘sound.’
time perceive his true nature. He will not In the human being it is the voice which (1) & (2): Page 136 of Yogasūtrabhāṣyavivaraṇa
be disturbed by any interruptions that produces sound. Here the word ‘Na’ of Śankara by T S Rukmani
come in the way of practice of Yoga.”8 represents ‘Prāṇa’ and ‘Da’ represents (3) Pages 30 & 31 of Reflections on Yogasūtra-s
of Patañjali by Śrī T K V Desikachar
In the Yogavallī Śrī T Krishnamacharya ‘Fire’ (Agni). In the same song he says
(4) & (5) Page 65 and 66 of Yogavallī of Śrī T
says, “The repetition of Om will reveal that the sound is produced by the Krishnamacharya
the true nature of the Self, always mixture of Prāṇa and Fire. (prāṇānala (6) Page 40 of Yogavallī of Śrī T
associated with the Supreme Being in a samyogamu valla…) In the ancient Krishnamacharya
special way. Also, all physical and musical treatise Saṅgīta Ratnākara of (7) Page 66 of Yogavallī of Śrī T
Krishnamacharya
mental impediments are removed.9

Sarangadhara this definition of Nāda is
(8) Page 33 of Reflections on Yogasūtra-s of
given “nakāraṁ prāṇanāmānaṁ Patañjali by Śrī T K V Desikachar
Saint Thyagaraja is considered as dakāramanalaṁ viduḥ nātaḥ (9) Page 66 of Yogavallī of Śrī T
“Nāda Yogī,” a “Jīvan Mukta,” the one prāṇagnisaṁyogāt tena Krishnamacharya
who realised the Supreme Being nādo’bhidhīyate.”10

(10) Page 52 of Spiritual heritage of Saint
Tygaraja by Dr V Raghavan.
through “Nādopāsana;” “Meditation

through music.” His songs are Through Yogasādhana one can reach
addressed to Lord Rāma with whom he the highest state of Self realisation by
communicated and linked. Through his repeated recitation (Japa) of Praṇava
songs he gives clues about reaching (Om) with the reflection (Bhāvana) of its

SIMILAR IN BOTH SPIRIT AND INTONATION*

SUGANTHY KRISHNAMACHARI
S.A.K.Durga is the only Indian to have is several notes per syllable are chanted. continuity. Students are, therefore, taught
chanted the Gregorian chants in the In fact the concept of singing sangatis breath control. This is where Durga's
Marquand Chapel at Yale Divinity School.
comes from the Sama Veda, Durga says. training under Maharajapuram Viswanatha
All three styles are seen in Gregorian Iyer came in handy. Maharajapuram had
An Indian seated cross-legged on the floor chants. The Alleluia of the Gregorian tremendous breath control, which made it
chants the Vedas. Elsewhere in the Roman chants is mellismatic. The Tevaram hymns possible for him to glide from one sangati
Catholic Church, a priest intones a are mellismatic. Durga sings the Tevaram to another. Students attempting Gregorian
Gregorian chant. As one listens, a sense of verse "Maadar Pirai Kanni" and explains chanting are taught smooth transition of
peace and tranquillity prevails. Because that it is in the pann Gandharam. She has vowels in singing. This kind of transition
both have spiritual quests as their especially studied this hymn in relation to can be likened to gliding sangatis. One
motivating force. But the similarity doesn't the Gregorian chants. She says there is a reason for the insistence on breath control
end there. Both are melodic and both are similarity between the Gregorian pattern of could be because it helps in
monophonic. In short, both have musical chanting and this particular Tevaram, concentration. This is a concept Indians
similarities. And that's not all. The except that in the former, gamaka is are familiar with, for yoga also requires
Gregorian chants bear similarities to the lacking. The Gregorian chants, like the breath control, a prerequisite for dhyana.
Tevaram too. S.A.K.Durga talks about Vedic chants and the Tevaram and Divya Durga is the only Indian to have chanted
Gregorian chants, which she studied at Prabandham, are offerings to God. the Gregorian chants in the Marquand
Yale University, where she did her post- Gregorian chants are more like an Chapel. She also chanted at St. John's
doctoral research. Earlier, she had done alapanai. But in the case of the Tevaram, Church in New York. As Durga chants
her Ph.D in Ethnomusicology at the we have the concept of talam. In Divya Gregorian chants and then follows this up
Wesleyan University.
Prabandham, the talams are mentioned. with a Vedic one, this writer glimpses an
The Divya Prabandham has ragas like austere beauty, one that does not excite,
INTEREST FOR GREGORIAN CHANTS Mudir nda Kurinji, not seen in the but calms, comforts, assuages, soothes
Tevaram.Gregorian chant is called Roman and mesmerises.
Beginning her study of music under chant or plainsong, and is chanted in eight
Madurai Mani Iyer, Durga continued her modes. In Sama Veda there is only one *The article was originally published by
lessons under Maharajapuram Viswanatha mode - Kharaharapriya. There is another The Hindu on December 29, 2006. The
Iyer. Her interest in Gregorian chants dates s c h o o l o f S a m a Ve d a , w h i c h h a s KYM thanks The Hindu and the writer
back to the time when she studied Sankarabharanam. The Church modes are Suganthy Krishnamachari for granting
Western music, as she worked towards a much closer to the Tevaram, which has permission to reuse the article.
degree in music. But at that time, she ragas like Harikhambodi and Photo Credit: R. Shivaji Rao
merely had an introduction to the Sankarabharanam.
Gregorian chants. It was only when she

went to the U.S., to pursue her studies in THE MIXOLYDIAN MODE
music, that she became aware of its
beauty. In the Vedas and in the Gregorian The Phrygian mode has its equivalent in
chants, voice drone is an element, she Kharaharapriya. The Carnatic equivalent of
says. Contrapuntal music is an element in the Lydian mode is Kalyani, which one
both. Both the Sama Veda and the does not find in the Tevaram. The most
Gregorian chants are chanted in a frequently used mode in the Tevaram is
descending scale. Any melody, Western or the Mixolydian mode that is Harikambhoji.
Indian, shows syllabic, neumatic or Gregorian chanting is slower in tempo
mellismatic elements. Syllabic singing than the Vedic one. Durga studied
means singing of one note per letter. The Gregorian chanting at Yale Divinity School,
Rig Veda is a syllabic. Neumatic chanting where classes for the chants are held in
is where two notes per syllable are the Marquand Chapel. Voice training is of
chanted. The Yajur Veda is chanted in this utmost importance in the Gregorian
style. The Sama Veda is mellismatic, that chanting. One has to use one's voice with

December, 2018
BEYOND ALL BOUNDARIES - THE POWER OF CHANTING

AN INTERVIEW WITH MRS. SHAHEEDA MURTHY
INTERVIEWED BY SHRILEKHA V
It is the integration of chanting and breath led practices that is the unique hallmark of the KYM tradition. And Śrī Desikachar
was very sensitive in applying chants keeping in mind the personal preferences of every individual student. His unique ability
to design powerful practices using chants like 'Amen,' 'Allahu Akbar,' 'Shalom,' or 'Om' was legendary and also set him
apart as a teacher of great wisdom who helped every student find his or her own truth, within.
Here, Mrs. Shaheeda Murthy, a very senior teacher of the KYM, shares her unique experiences with chanting. She has been
a very long time student of Sir and an experienced practitioner of Vedic chant. She also underwent intensive training in Yoga
therapy under the guidance of Sir and is one of KYM's senior consultants. Her experience is made even more significant by
the fact the she hails from a different religious background, initially struggled with doubts and eventually went on to become
very proficient in Vedic chanting. Now, she is on the panel of external examiners, for KYM's teacher training programmes in
healing chants. We thank Mrs. Shaheeda Murthy for taking the time to share her thoughts with us.
belong to. But Sir was clever enough to For Sir, chanting was an integral part of
gently talk me out of my inhibitions and his teaching. He had this fabulous
my teacher Sujaya was indeed fabulous. chanting voice - if you listened to him,
She was a trained Hindustani singer and you could feel the vibration and he was
she was very good at it.
very genuine in wanting people to feel
better.  
Sir was insistent that all the KYM
teachers should learn chanting because Did you face any challenges in
he felt that a person is not a complete learning chanting, both as a woman
Yoga teacher until you can teach some and as a person from a non-Vedic
basic chanting. We were always taught to background?
respect the sentiments of the students to
whom we had to teach chanting. Very The objection was within myself to learn -
often, we were teaching to westerners, because I was very scared that my
who also had lot of resistance to it.
religion would get changed and this fear
did exist initially. So, I have never chanted
Sir was an expert in all this - he used to in front of my in-laws because they have
teach the Jews, the Muslims, all these Pūja-s and all of that. I have
Christians...everyone - only from him I never opened my mouth about it except
learned that I could teach Allahu Akbar when they made mistakes and I used to
Please share your experiences when instead of Om on exhale, when we tried quietly point out the mistakes to a close
you first began to learn chanting.   to extend the exhale. No practicing relative. But, learning chanting here and
Muslim would object to that - because attending the Abhiṣekam for for Periyavar
I first came to Mandiram seeking Yoga there is a lot of resistance amongst (in the Sannidhi)...all this helped me. It
therapy for chronic asthma issues. Initial Muslims to using non-Islamic chants and was also familiar because it was based
chanting of ‘OM’ was introduced to me in even Yoga. Even with students from other on the Suktam-s and the Abhiṣekam that
my therapy. When I joined the Diploma religions, Sir would teach in a way that was done in Tirupati.
Programme, Sir suggested that I learn they could not refuse to practice, and
chanting. My teacher was Sujaya. I had then more often than not, they used to My husband is a great devotee of Tirupati
some initial resistances to learning come back and say that they were feeing and even before I got married, he
chanting because of the different religion I better.
requested me to promise that I would

go with him to Tirupati. So once a month, also in terms of your personality? As a Today, I understand what he said. Whether
we used to go Tirupati and I became very long-term student of Sir and a very it is passages from the Veda-s or otherwise,
comfortable going there because I used to senior therapist, what are your the Sanskrit language is a fabulous
close my eyes and imagine Sir chanting observations/experiences with regard to language. There are a lot of positive when
and of course all the other expert teachers, using sound in therapy? doing the Mahā Prāṇam properly and
Mrs. Menaka, Dr. Usha Raghavan, Sujaya pronouncing the letters correctly.
and Latha Satish. When all these teachers Chanting has definitely helped me. I am not
chanted, it included the same chants and able to do chanting when I have severe I feel that every person has a number of
procedure I saw at Tirupati and that made breathing problems. When I get a little repressed feelings and in our culture,
me very comfortable.
better, chanting helps me to get even we don’t have the habit of seeking
better. Overall, chanting gives me a lot of therapy.
From the outside I never faced any confidence. Even when I have not been
opposition. There was a correspondent able to do the meditative practice designed A lot of emotions find their voice when you
from Time Magazine, who came to for me by my teacher, I have found that are chanting. I have seen this happen with
interview Sir and he was here for a long chanting is a good substitute.
many students - especially those from
time. He was so fascinated when he saw abroad, who lack family support and go
me teaching chants to two Hindu women I have never considered chanting as through so much trauma without being able
and he was really impressed because they different from Yoga. My practice includes a to speak out their feelings. Tears would
had gotten over their resistance and had lot of chants and I always chant at the end simply flow out, when they chanted or even
accepted learning from me. Of course, they of my practice. For a long time I used to listened to us chant. They would close their
had practiced Yoga for a few months at argue with Sir that it is not necessary to be eyes, often even unaware of their own tears
least before they started to chant.   able to chant to be a good Yoga teacher spilling out. So much emotion comes out.
but Sir used to tell me that I would not be Surely, chanting helps in healing and after
How has the practice of chanting made able to understand then but would do so healing also to remain healthy.
an impact on your general health and later.

SVĀDHYĀYAM
REFLECTIONS ON INNER TRANSFORMATION
Śrī T Krishnamacharya was among the early visionaries who made Vedic chanting accessible to women and so
many others. In continuance of his legacy of Vedic chanting, Śrī TKV Desikachar also very effectively and
innovatively integrated chanting into practices of Āsana, Prāṇāyāma and meditation, so much so that even in our
therapy work, a majority of students are taught practices integrated with simple chants, based on their personal
preferences, to very positive effect. Here, three of KYM’s senior teachers of chants share their own personal
experiences of chanting and how over the years, chanting has been a catalyst to their own personal growth and
transformation.
• Mrs. Shobana Srinivasan is currently the Director-In Charge of the Department of Healing Chants
• Mrs. Padmini Narendran and Mrs. Ramamani Kalyanaraman are both senior faculty members and senior
therapists at KYM.
All three of them have had over two decades of experience in chanting and have also trained several national and
international students.

December, 2018
Mrs. Shobana Srinivasan
I lost my father when I was six and this emotional trauma affected my
health. I was a sick child - frequently falling ill. I was highly introverted
and emotional suppression frequently found expression as outbursts
of anger. I also had hormonal disturbances. As I grew older, I started
getting frequent headaches at the slightest exertion.
I was fortunate to meet Śrī TKV Desikachar, who drew a personal

practice for me which also included chanting practices. I found lot of
improvement - my inhalation capacity improved and I became more
calm. My headaches slowly disappeared. I became more confident and
started interacting with more people. Chanting has helped me reflect
inwardly and this has brought a sense of contentment and
detachment.
Mrs. Padmini Narendran
Breathing! I have been an asthmatic since the age of 9. Chanting

helped me breathe a lot more comfortably, in particular exhalation
improved. Secondly, confidence. Regular chanting helped build my
confidence. It reflected in my handling of consulting cases, and in my
handling of classes. Third, it improved my focus and concentration
and as a result of this, I am able to pin point subtle deviations from the
original amongst chanting students.
Because of chanting, my spiritual inclination also increased. It is very

helpful in handling Dhyānam practice sessions.

December, 2018
Mrs. Ramamani Kalyanaraman
My chanting journey started in 1997 at KYM after I finished my Diploma in Yoga.

Perfection: This is the first and foremost Mantra for Vedic chanting – perfection
in every aspect. My pronunciation, how I aspirated, how I connected the verses –
everything. My first chanting teacher scrutinised everything and I realised soon
enough that chanting was no casual recitation. This also made me realise that
when chanting, one has to be present in the present and there is no
compromising that.
As I look back at my 21 years of journey in KYM, there has been a tremendous

change in me in so many ways. I can surely say that my attention span has gone
up. Earlier, I would find it hard to stay in a place beyond half an hour. I would get
restless. Now I can sit and focus on anything for even two hours. The confidence
in me has increased and I attribute it to chanting. Further, there is a lot of clarity
in my mind when I chant, and as a result, my decision making has improved
considerably. I used to be very sensitive when anyone criticised me for anything.
That too has changed for the good. I realise that I don’t get overly emotional.
Overall, I am at peace with myself.

December, 2018
A DANCER ON DHYĀNAM
AN INTERVIEW WITH DR. PADMA SUBRAHMANYAM*
INTERVIEWED BY ŚRĪ TKV DESIKACHAR & ŚRĪMATI MALA SRIVATSAN
The classical treatise on dance, the Nāṭyaśāstra is also referred to as the fifth Veda. It states
the objective of dance to be the communication of the essence of the Veda-s, to all people,
for their upliftment. Dance, therefore, cannot but be a spiritual discipline and a dancer cannot
achieve this goal without Dhyānam. To know more about Dhyānam in dance, KYM-Darśanam
talked to an internationally renowned dancer who is also a respected researcher on dance,
Dr. Padma Subrahmanyam.
Padmabhushan Dr. Padma
What does dance mean to you? form of the particular God; there are Dhyāna,
Subrahmanyam is one of the
Śloka-s for each God. Through this he discovers
most famous exponents of
Art is not entertainment but is a journey within the figure within the block of stone and then Bharaṭanātyam in India
oneself. There are two aspects to art, the inward removes the unwanted material to reveal its today. In addition to her
journey and the outward journey. Dance can be form. If he is able to reveal the form that he t a l e n t s a s a d a n c e r,
perceived at various levels: the physical, where it meditated on, then that sculpture will always choreographer and
radiate tranquility. The Śānti or Dhyāna of the composer, she is widely
keep the dancer fit and is beautiful to the
respected for her research
observer; the intellectual, where the concept of sculptor has been permanently stored in the
on the subject and has to
time and space is merged in dance giving rise to stone. This is true of the musician or dancer who her credit the recreation and
the various permutations and combinations of radiates that divine Śānti, experienced within, revival on the subject and
Tāla; and spiritual, where the dancer moved by a through the respective art. The goal of Indian art has to her credit the
deeper force, experiences and communications is to create Śānti. This is what the world needs recreation and revival of a
the divine. Normally, Tāla represents the beat or and so it is the duty of the artist to meditate, dance technique which had
been lost for centuries.
measurement of time. It is however, more than experience Śānti and share this with the world.
that. It also refers to the measurement of space. She has also at the asking of
It says a lot for the philosophical basis of these H o w w o u l d y o u a s a d a n c e r d e fi n e her Guru, the Paramācārya
disciplines that the Śāstra-s use the same word meditation? of Kanchi, designed for
to represent both time and space. The concept sculptural codification for a
of symmetry and proportion forms the foundation To me, meditation is process of relaxation. temple of Lord Naṭarāja, a
set of 108 Karaṇa-s
of Indian aesthetics.
Through it, I reach a state of mind where I feel
depicting Śiva and Pārvati in
complete. This is the first stage of the mediation. dance. They are unique in
Traditional Indian aesthetics deals with the From here I deign the dance itself. I carry it that they are based on the
concept the ideal state. The sculptor who further in the process of dancing and techniques laid out in the
creates the “Bhagavān” has to meditate on the communicating with the audience.
Nāṭyaśāstra, and have never
been sculpted before.
She has innumerable

national and international
awards and honours to her
credit and is a legendary
figure in the world of dance.
The Temple of Bharatamuni

constructed by Dr. Padma
Subrahmanyam, under the
aegis of the Bharata Ilango
Foundation is yet another
feather on her cap.
*This article has been reproduced from KYM-Darśanam archives - Vol 3, No.3, November 1994

December, 2018
Do you have a set of practices you Accompanying this is the Bhāvanā Dance must communicate the essence
use to achieve that meditative state of (visualisation) of one’s chosen God and of the four Veda-s and the Itihāsa-s.
mind?
one’s Guru. In my own case, I worship Nāṭyaśāstra is also called the fifth Veda.
Devī Durgā. My Guru is Periavāl (The It has been compiled by Brahmā to give
The practices are in the nature of a Paramācārya of Kanchi). Through this to everybody irrespective of sex or
purification process. I evolved these Bhāvanā, I visualise their forms and only caste, the essence of the Veda-s.
practices for myself and they are very then do I begin the performance. This is
personal to me and are a part of my very important to me, especially the The art of communication is called
innermost experience. I therefore do not receiving of the grace of the Abhinaya. Abhinaya means to draw the
disclose or discuss them with others. Paramācārya. More than once I have Rasa-s towards the viewer. In dance
Intuition plays a major role in these actually felt his presence in the there are four means of communication.
practices and they involve the audience.
Āṅgika Abhinaya, through the Aṅga-s
purification of thought, word and deed. It (physical expression), Vācika Abhinaya
results in a total draining of all tensions On beginning the dance, we sing a (verbal expression and also through
and leaves me completely relaxed. The prayer called the Pūrvaraṅgam. There is songs), Āhārya Abhinaya (through
whole process is very intense and also a chapter in the Nāṭyaśāstra called external elements like costumes, sets,
very short. It hardly takes any time at all. Pūrvaraṅgam. It gives the details of a make up) and Sāttvika Abhinaya (through
It begins the moment I put my right foot particular Yajña, how it is to be done and the involvement of the mind). When
on the stage. A transformation takes the benefits obtained by performing this there is an effective communication of
place. I become aware of my whole Yajña. It is said that the same benefits an experience to a viewer, enjoyment of
body and relax myself Aṅga by Aṅga. I are also obtained by performing the it is the Rasa. Bharata has listed eight
feel a Jyoti entering within me that light Karaṇa-s before the Nātya. So we see Rasa-s that can be communicated.
up my entire system, from the tip of my that dance has the same efficacy as a Śanta was later added on as an
toes to the top of my head. In that state I Yajña. In the same manner the ghee is additional Rasa. Bharata probably left it
enter the stage.
used in a Yajña to fuel the fire so that it out because Śanta is obtained only
takes our offering to the God’s, the when the eight Rasa-s are absent.
Are there any traditional prayers or energies of the dancer are given totally However, Abhinava Gupta, a Kashmiri
practices given in the Nāṭyaśāstra to the dance. It becomes another kind of Vedāntin who wrote a great commentary
Yajña.
on the Nāṭyaśāstra, transcended these
which are done before a dance?
academic discussions and said that
There is the ritual Taṭṭi Kumbuḍal at the What is the role of the audience in a Rasa is only one. It is Ātma Anubhāva,
beginning and end of any programme. dance? the experience of the soul. Whenever we
Every child learning dance will be taught experience Rasa, even be it tragedy, it
this ritual. Very simply, it consists of All that exists in all the worlds, whether touches the core of our real self whose
touching the Bhūmi (earth) and asking good or bad, can be shown in dance. state is Ānanda. It is this Ānanda, that is
forgiveness of the Bhūmi Devi (Goddess What is shown, however, is not just a kindled through exposure to beauty. One
of the Earth) for our act of stamping on mirror image of certain realities but the must be blessed to be a Rasika, who is
her, quite often, it is just a motion gone poetic glorification of certain realities, moved and spiritually touched by
through using certain stylised Kīrtanam, which is one of the nine witnessing the depiction of the essence
movements but when done with a Bhakti-s, the goal of any performance, of the Veda-s.
feeling of devotion and humility, it is also according to the Nāṭyaśāstra, is to

a meditative practice. Following this is revitalise morals and values in the You are famous not only as a dancer
the Aṇjali Hasta, the obeisance paid in viewers and elevate them as human but as a scholar and researcher on
three regions. With palms pressed and begins. Through this medium, each will dance. Can you tell us something
raised above the head, we pray to and be elevated according to his or her about your work in this line?
pay our respects to God, with palms potential. It is thus possible for one who
pressed and kept level with the eyebrow, is spiritually evolved to reach the highest In the Nāṭyaśāstra, a unit of dance is
we pray to and pay our respects to the consciousness through the experience called Karaṇa, comprises a
guru and finally with palms pressed and of the dance. Dhyānam is therefore a combination of movements of the hand
kept level with the heart, we pray to and requirement both for the dancer and the and feet. These movements all begin
pay our respects to the audience.
viewer of the dance and so too the from Sthiti, (static starting position)
preparation for it.
and will be performed using one of

the six Sthāna-s The Sthāna-s are the great deal of work as I could not simply earthquake during the 15th century. From
basis of dance and can be in the standing, copy the figures existing in these three early this century, Dutch archaeologists
sitting or lying positions.
temples. For each Karaṇa I had to plan have been slowly rebuilding this temple is
carefully from my reconstruction of the known for its Rāmāyaṇa panels. When I
A sculpture of a dancer in action is really a Karaṇa and choose an appropriate went there to attend a conference on
freeze of the dancer’s flow of movement. movement not already existing. In Rāmāyaṇa two years ago, I was struck by
In the three temples; Bṛhadīśvara temple addition, he wanted me to use two figures, the Karaṇa panels which adorn this
i n Ta n j a v u r, N a ṭ a r ā j a t e m p l e i n those of Śiva and Pārvatī. This is also not temple. Archaeologists around the world
Chidambaram and Sāraṅgapāṇi Temple in present anywhere else. Using Pārvatī to had only been talking of the Rāmāyaṇa
Kumbakonam, the Karaṇa-s described in show the beginning of the movement, two panels and so these Karaṇa panels came
the Nāṭyaśāstra have been sculpturally of Śiva’s four hands to show the as a total surprise. This temple belongs to
depicted. For the last 500 years, these intermediate movement and the remaining the 9th century. These panels are
movements had been out of vogue. To two hands of Śiva to show the completion therefore 150 years older than the oldest
reconstruct the movements of each of this of the movement, I have shown three available series found in India. The miracle
Karaṇa-s has been my goal. Through a stages of a single movement for each is that more than 40 out of the 60 panels
correlated study of the fourth chapter of Karaṇa. For each of these he also wanted are identical to the Karaṇa panels I
the Nāṭyaśāstra and the sculptural the appropriate reference from the designed for the Satara temple. This has
codification in these three temples, I have Nāṭyaśāstra. So beneath each sculpture, not only proved the authenticity of my
authentically reconstructed all the 108 has also been inscribed the relevant reconstruction of the long forgotten
Karaṇa-s. It has taken me almost twenty quotation from the Nāṭyaśāstra in the technique; it seems to me that through the
years to do this and now this Karaṇa-s is Nāgari script. This was a ten year project.
unlimited grace of Pūjyaśrī Paramācārya of
once more a part of our living knowledge.
Kanchi, my meditation on Nāṭyaśāstra has
A remarkable achievement! This is yielded Siddhi, by revealing a link beyond
In the construction of Uttara Dhyānam. time and space.
Chidambaram Naṭarāja Mandir at Satara,

the Paramācārya of Kanchi ordered me to The remarkable thing is this: recently I Time, because of the link between my
design a fresh set of 108 Karaṇa-s discovered that there was a huge Brahma design and the 9th century sculptures and
sculptures. He did not want me to copy – Viṣnu- Śiva temple in Java, Indonesia. It space, because of the tie between Satara
any existing sculpture, but to catch those is situated in about forty acres of land and in Maharashtra and Prambanan in Central
moments of the movements which are not has 256 shrines. This was destroyed in an Java (Indonesia).
already recorded in stone. This required a

December, 2018
YOGA & SAṄGĪTAM

MEETING POINTS
FIVE MUSICIANS SHARE THEIR THOUGHTS ON MUSIC & YOGA, INTERVIEWED BY NRITHYA JAGANNATHAN
Padmabhushan Śrīmati Sudha Ragunathan is one of India’s leading Carnatic vocalists. A disciple of the legendary
Padmabhushan Dr. ML Vasanthakumari, Sudha Ragunathan has the distinction of being the only Carnatic musician,
second to Bharat Ratna MS Subbulakshmi, to have sung at the United Nations. With over a 110 awards, including
the Sangita Kalanidhi title, Sudha Ragunathan is a top ranked artiste of the All India Radio and Doordarshan and is
also a Fulbright Scholar having completed her scholarship in the United States in May, 2018.
Under the aegis of the Indian Council for Cultural Relations (ICCR), Sudha had performed at Tunis, Israel and
Myanmar. She has also performed in the presence of the King and Queen of Norway and other prestigious European
venues. She represented Indian at the Womadelaide Music Festival in March 2013 and March 2016. Fusion music
and film music are also an important part of Sudha’s repertoire. Teaming with jazz wizard Amit Heri, she has toured
the United States along with some memorable performances in India as well. Having sung some very popular
numbers in Tamil and Malayalam films, she is currently into composing music for two Tamil films.
The Samudhaaya Foundation, of which she is the Managing Trustee, is now in its 19th year of operation, and has
disbursed funds to the tune of close to Rs.5 crores for varied causes specific to paediatric care for the
underprivileged and logistical support for children’s and old age homes.
R K Shriramkumar belongs to the Rudrapatnam family of musicians, and is the grandson of Vidvan Śrī R K
Venkatarama Shastri. 
He has been trained by Vidushi Śrīmati Savitri Satyamurthy, and later by his grandfather Śrī R K
Venkatarama Shastri, Śrī V V Subrahmanyam and Śrī D K Jayaraman. He has accompanied many great
musicians including Śrī Semmangudi Srinivasa Iyer, Śrīmati M S Subbulakshmi, Śrīmati D K Pattammal, Śrī
D K Jayaraman, Śrī Palghat K V Narayanaswamy, Śrīmati T Brinda and others.  
Shriramkumar’s discography includes, apart from his solo recordings, his violin accompaniment with
reputed artistes and he has had the blessed opportunity of participating in a very unique recording entitled
‘Divine Unison’ featuring the veterans Śrī Semmangudi Srinivasa Iyer and Śrīmati M S Subbulakshmi. A
widely travelled performing artiste, Śrī Sriramkumar has also composed the music for many dance
productions.
The son of Ghaṭam Vidvan Śrī K. Nagaraja Rao, Guruprasad has also undergone training under Śrī T H
Vikku Vinayakram, Śrī V Suresh and Madurai Sri T Srinivasan.
He regularly accompanies the senior-most artists in the field of Carnatic Music, and is highly sought after
in the film industry as well as for collaborations with world renowned artists of various genres. He has
travelled extensively and performed in very esteemed global venues including the Kennedy Centre in
Washington D.C and the Lincoln Centre in New York and also at the “Incredible India” festival at The Oval
Cricket Ground in London, and along with the Johannesburg Philharmonic Orchestra in South Africa.
Among his prestigious awards include Sangeet Natak Akademi’s Bismillah Khan Yuva Puraskar, the Kalki
Krishnamurthy Award and his recognition as Asthana Vidwan of the Kanchi Math.

December, 2018
Akkarai S Subhalakshmi, Indian classical (Carnatic) violinist and vocalist, hails from a musical family.
Subhalakshmi is the disciple of her father, Akkarai Śrī S Swamynathan. She and her younger sister,
Sornalatha are now much sought after for their mastery over the violin as well as their mellifluous singing
skills. She has also trained under Śrī V Janakiraman, Śrī O V Subramanian, and his daughter Śrīmati Padma
Natesan in New Delhi, and later on, Padmabhushan Śrī P S Narayanaswamy and Chitravina maestro Śrī N
Ravikiran.
She performed in Moscow at the age of thirteen for the Indo-Russian cultural exchange programme and has
been featurted in the Théâtre de la Ville Festival (Paris), the farewell concert for Zubin Mehta (Munich), the
Darbar Festival and Sadler’s Wells Theatre (U.K.), a special duet with her sister for the Emperor and Empress
of Japan and the Chief Minister and Governor of Tamil Nadu, among others.
The Rajiv Gandhi Yuva Puraskar, Yuva Kala Bharathi the Kalki Krishnamurthy Memorial Award and the Ustad
Bismillah Khan Yuva Puraskar are but some of her awards and titles. She had been proclaimed one of India’s
50 emerging stars by The Week magazine’s issue commemorating the Indian nation’s 50th anniversary.
Subhalakshmi’s first album was a rare feat featuring her vocal with her own violin accompaniment at the age
of fifteen. She has several other albums to her credit.
Rithvik is a versatile and accomplished musician, rooted in the Carnatic Music tradition. Having risen
steadily over the last decade through constant hard work, dedication and introspection, he has now
carved a distinct niche for himself. His music is fresh, vibrant and spontaneous with a natural flair.
Coupled with a voice that is highly sensitive and deep, his pitch perfect singing is honest and sincere. An
aesthetically conscious artiste who gives priority and focus to subtle nuances and wholehearted
emotion, his renditions are punctuated with abundant creativity. A constantly evolving
musician, Rithvik takes pride in being an artiste who safeguards the integrity of classicism and treasures
the traditional values. He is one of the youngest musicians to travel all around the world for concerts,
including the USA, Europe, Australia, New Zealand, Singapore, Malaysia, Sri Lanka and Abu Dhabi. He
has given many lectures and has conducted a number of workshops. He has extensively participated and
won many prestigious competitions and holds a number of awards and recognitions. He contributes to
the world of arts in many ways. He works closely with a number of organisations to create awareness for
the arts. He is the proud recipient of many government grants and writes regularly on varied subjects
pertaining to music, while being widely reviewed and highly appreciated by connoisseurs and critics. An
extraordinary musician and a sensational artiste in the making.

This entire universe is indeed Nāda, commitment, so much of do’s and don’ts the way one views the world and the
states the Saṅgīta Ratnākara. How has that you have to observe that it somehow space around them and makes them
your involvement with music impacted shapes you as a person, as a finer more sensitive to the vagaries of the
the way in which you view the world? person. Hence, it is probably the reason world.
why we are able to look at the world with

a different perception.
Akkarai S Subhalakshmi: I hail from a
Sudha Raghunathan: Music has largely musical family, and music has been with
impacted me. The fact that I am a Shriramkumar: Nāda is the all pervading me since the time I was born. For me,
practitioner of music, especially of power of Saṅgīta. Having been with music music has always been everything, my
classical music, I feel the world is more all my life - as a student, Rasika, very reason for existence. Through the
beautiful than what I thought it may be practitioner and a teacher, music has experience of music, there is some magic
30-40 years ago. I feel music in every little imparted the thought that one must that happens, something divine, that
activity of not just my own, but also of readily receive, perceive and immerse touches us deep within and awakens us
people around me. I am able to one's self in Nāda, the source of which as to how to see the world, life, and
appreciate music that is good, that comes could be from any form of music. For that ourselves.
from anyone – even if it is a child of three to happen, humility, empathy and respect
or if it’s a veteran who is singing. If it’s are values to be upheld in great measure. Rithvik Raja: Nāda is a complex term
good, I am able to appreciate it and this With my involvement with Saṅgīta I'm on that has many interpretations and
traverses genres of music as well. I am a learning curve to uphold these values.
philosophies. From just any sound, to that
able to appreciate Rock, Jazz, Arabian transcendent sound which we all aim to
music, music from the Congo basin, Guruprasad: Nāda and Saṅgīta are resonate with, there are various different
Hindustani, folk music, cine basic, inseparable. I have been fortunate to have levels of Nāda. To me, it simply means,
Bollywood, Kollywood and of course my grown up with music. As a Ghaṭam u n d e r s t a n d i n g t h e fl o w o f s o u n d
own Carnatic music. Why? If you ask me, artiste, performer, teacher and a student vibrations that exists around us, and
why does the involvement with music of music, I feel music brings in balance of within us. When there is a conscious
impact the view of the world – it is the mind, sharpens the intellect and is a realisation of the union between both, it is
because music makes you a finer person, pathway to express one’s emotions. Nāda Yoga.
a more refined person. There is so much Music also makes one more empathetic
of discipline that is required, so much of by nature. All of this combined, reflect in

December, 2018
W h a t w o u l d y o u s a y, i n y o u r m e t h o d s . I f b o t h a re d o n e i n a and you are able to hold the longer notes

experience, are the meeting points disciplined way with passion, the with much more ease.
between Yoga and Saṅgīta? satisfaction, peace, calmness and joy

derived is immeasurable. Regular Shriramkumar: In my little experience of
Sudha Raghunathan: Of course it is practice of Yoga also aids a musician in doing Yoga I have experienced the
Nādam. Nādam is the common thread his practice of music.
calming of the mind that enables the
when we say A-U-M in Yoga and in removal of haphazard thought
Saṅgīta you say A-Na-N, there’s that Akkarai S Subhalakshmi: Saṅgītam is movement. This state of the mind suits
vibration, the energy level that you rise itself considered a form of Yoga by the best for music. By doing Yoga, the mind
up to when you do all these different great saints like Tyāgarāja. They both are and the body allows one to think and act
sounds, which we call Prayoga-s in time-honoured practices that involve the in a very balanced way. Thus, the music
Saṅgīta, it’s a kind of a Yoga. You go into physical body and the mind and take us produced is logical, aesthetic, creative
a kind of meditation, especially when you to a higher level. By practising both, one and at times even transcends
sing Rāga and Ālāpana-s, there is no feels energetic, rejuvenated, and technicalities, making it an experience
lyrics, it is just A-Tha-Nom-Tha. You go complete.
rather than just a performance.
into the Rāga and you sing into the

different octaves at different emotional Rithvik Raja: Yoga and Saṅgītam are Guruprasad: As a Ghaṭam player, I
levels, it calms you completely and two powerful paths to attain the same spend long hours squatting with my
brings so much of repose into you. So, goal, of attaining a state of instrument and there is increased usage
even after a Yoga session or mediation, enlightenment and self realisation. There of my shoulders, forearms and
you feel that sense of complete peace are many points where they converge. As abdomen while playing. In addition to
within you, where you are able to human beings, we naturally react to that, traveling and carrying the weight of
connect with the energy of universe, melody and rhythm through our body. the instrument puts pressure on the
where you as a person don’t exist Yoga and Saṅgītam are ways to help us back. A combination of both over a
anymore, you are melting with joy, understand the inner melody and rhythm, period of time has caused some wear
compassion and goodness. I feel that and be aware and in sync with the and tear for me. Regular practice of
way Yoga has the effects of Saṅgītam external. Both Yoga and Saṅgītam evoke Yoga has relieved me of a lot of
and Saṅgītam is a way of Yoga.
a deeply personal and spiritual experience discomfort and strengthened my back.
that is incomparable. Strangely, when you It has also helped in relaxing my mind
Shriramkumar: Discipline and routine are totally engrossed in Yoga or and relieving stress thereby keeping my
are very important for Yoga to bear fruit. Saṅgītam, the point where you are mind free to focus on music and playing
Similarly, Saṅgīta also demands good present in the moment and feel entirely the Ghaṭam.
discipline and routine. A good Guru active and alive, is where the magic
Pāraṁparā is very important for Yoga to happens. This point is sometimes Akkarai S Subhalakshmi: As performing
be learnt and practiced. Saṅgīta also fl e e t i n g , s o m e t i m e s e l u s i v e , a n d artistes, we are bound to sit continuously
needs a very good Guru Pāraṁparā. The sometimes so real that it can almost be for hours together without any breaks, be
after effects of a good practice of Yoga felt.
it for practice or for concerts. Yoga helps
are multifold - it bestows good health, to overcome some of the unavoidable
good cheer and positivity, stimulation of In what ways has the practice of Yoga consequences of this. Practising it helps
the intellect and good direction to act supported your Sādhanā as a me stay fit and healthy. Also, learning
upon and above all - mental peace, joy musician? and understanding Yoga has given
and harmony within oneself and with the additional perspectives in understanding
outside world. Good Saṅgīta bestows Sudha Raghunathan: As a musician, certain aspects of music, for instance,
the same kind of benefits. Practice of especially as a vocalist, I think the breath how one uses one’s body or ‘Śarīra’
good Saṅgīta is Yoga by itself and Yoga control is extremely important. The way while singing or playing certain musical
practiced well is as blissful as good you sit, the posture, the way you project phrases.
m u s i c . B a d p r a c t i c e o f Yo g a i s your jaw, the way you keep your face,

detrimental. Similarly abuse and bad how much you open your mouth, Rithvik Raja: Serious and regular
practice of Saṅgīta is also detrimental on everything matters for the voice to come practise of Yoga over the past few
many grounds.
out in full swing. So I think Yoga corrects months has helped me realise its

the posture and it also gives you the importance towards my Sādhanā as a
Guruprasad: Both Yoga and Saṅgītam breath control, especially when you do m u s i c i a n . D i s c o v e r i n g a n d
require proper learning and practice Prāṇāyāma, the breath becomes longer understanding the deeper qualities of

December, 2018
sound, aesthetics, language and rhythm thing is to maintain silence before I get to you start the music, it’s a different
in music is essential. Philosophically, the concert. This helps to contain and elevated state that you are in and there is
there is a sense of enlightenment, focus the mind in musical thoughts.
no room to think of anything else. Even
satisfaction and clarity that I experience when the violinist is playing his turn, you
through music. Yoga helps in better Guruprasad: I generally practice Yoga are thinking of the Kṛti that follows or
facilitating all of the above. But in more and meditate for a short while before a what you are going to do in the Kṛti, what
practical and tangible ways, having a performance. It keeps me fit physically kind of Svara-s you might be able to sing
clean breathing mechanism is the most and mentally and helps me stay focused – the permutation and combination and
important for musicians, especially during a performance. It also aids my things like that. Hence, the state of mind
vocalists, and Yoga is a wonderful method creativity as my mind is free and relaxed.
is kind of ecstatic, especially if everything
to help achieve that. It also promotes falls into place that day, if your voice is
mental health and physical well-being, Akkarai S Subhalakshmi: I take some good, if your creative impulses are
both vital for a musician. When the deep breaths and do Prāṇāyāma before extremely in positive favour and if the
mind tends to wander and become my performances, as this helps me be acoustics are very good, if the audience is
restless, while trying to be creative or focused and gives me energy. Music also receiving your music well, then I don’t
innovative or pushed to its limits, Yoga gives a lot of mental strength, so think a artiste can ask for anything more
helps the mind hold focus and practising mentally before a performance than that.
concentration.
also helps towards the success of a
concert.
Shriramkumar: Once you get on to the
How do you prepare yourself mentally concert platform, nothing else but the
prior to a performance? Rithvik Raja: Being in a good head and music matters. I try to involve myself
mind space that is peaceful and quiet, is completely in the music that is being
Sudha Raghunathan: Of course, I am important before a concert. I achieve that presented. I try not to be distracted or
anxious before every performance. It through a routine that I follow at a pace affected by anything non musical and
doesn’t matter whether you have that is different each time, depending on earnestly strive to share the joy of music
performed thousand concerts or five the day. I start the day with some voice with my co-performers and the audience.
hundred or five thousand. Every concert exercises and a longer than usual session
is different and every concert to me is like of Yoga. I give my mind and body that Guruprasad: During a performance, my
a test, it’s fresh. Even if you have sung a extra rest, by resting for a couple of hours intent is to stay immersed in the music ,
song hundred times in concerts, the time before the concert. If I feel like listening to to stay focused on my playing and to give
that you sing it next, is again fresh. music before a concert, I have a specific my hundred percent. I also try and see
Because you will be handling it little playlist of songs that I have created over that I build a good rapport with my co-
differently and that moment when you a period of time. The routine is never artistes and the audience so that
sing the song matters, you have to be complete without my mandatory cups of everyone has an enjoyable experience. I
alert, you have to be physically fit, you hot chamomile tea with honey through the also try to not let external factors bother
must have good vocal hygiene, and day, which I find soothes and relaxes me, my mind so that it doesn’t affect the
hence, I am a little anxious. But, with a and helps me channel all the energies music or performance.
little bit of Dhyānam and not worrying properly, and be in the ‘zone.'
about anything gives you the space to do Akkarai S Subhalakshmi: While

everything with your music. As I travel to What is your state of mind when you performing, I’m in absolute bliss. Music
the concert venue, I try and catch a few are performing? just carries me to a different world
long breaths, deep breathing and a altogether. It elevates the mind and brings
shoulder exercise perhaps, little bit of Sudha Raghunathan: The state of mind happiness, and one feels contented at the
neck exercise. Everything helps in is totally immersed in the Sāgara, or end. I feel the happiest when I am with
relaxing the physical being and in turn, ocean of music. There is nothing else that music.
mentally you are also at little peace.

you think of. Sometimes I don’t even
notice who comes in and who goes out. Rithvik Raja: Good mental well-being is
Shriramkumar: It is absolutely necessary In fact, who is in the audience. Only indispensable to an artiste. Performance
for me to do a Śavāsana before I leave for before I start the concert, I do a Namaste of an art is the most honest reflection of
a performance. I find it very helpful to and acknowledge the presence of the mind, which is supremely active and
keep my mind at peace and present my everyone and then I notice a few familiar emotionally charged during a
music with poise. Yet another important faces and smile at them. After that, once performance. The intensity is very high.

So it is very easy to be lost in the moment, more than you. You still maintain that calm, Akkarai S Subhalakshmi: Yoga is very
or get carried away. After singing for a few you are able to maintain that calm and important for every artiste. Artistes have a
years, you begin to be more aware of where that’s only because you have control of your very tough lifestyle, sitting continuously for
you are, and understand when to hold back, mind and yourself and that can happen only hours together - they also travel a lot and
and when to just let go. Ideally, the mind with Yoga and Dhyānam and that’s the experience different weather conditions and
must be free from external conflicts in order reason why I would recommend to anyone different food, and sometimes they get no
to focus completely on the art.
and everyone because whatever profession sleep at all. So it is important to follow a
you do, you need that kind of control over strict regimen, and practising Yoga keeps us
Why would you recommend Yoga for an yourself and Yoga really helps.
in good mental and physical health.
artiste?
Guruprasad: Good all round health is so Rithvik Raja: I believe it is an effective way
Sudha Raghunathan: I definitely would essential for every human being. Artistes to interpret one's own art better. It gives an
recommend Yoga for everyone not only an definitely require good physical, mental and artiste a complete understanding of their
artist, but more so for an artist because emotional health. Regular practice of Yoga mind and body, thereby giving them a
after practice it gives you the sense of is such a blessing and aid for this. It also clearer vision of what their artistic impulses
peace as I said earlier. It keeps you relaxed, calms the mind and brings in a sense of are, and where their creative energies lie.
you know there are so many challenges you equipoise. Also out of personal experience, This improvement in an artiste's sense of
face as an artist when you go for concerts. I feel every artiste should take the effort to awareness and consciousness helps in
Sometimes the acoustic is not just right and learn and practice Yoga regularly for their being able to tap into the right spots at will,
then the engineers are not able to well-being.
and with ease. To train the mind to be
understand what you are trying to say and mentally calm in the quiet and solitude of
then time is running out for you to start the Shriramkumar: An artiste is blessed with Yoga, but at the same time be active and
concert, so you are so agitated that your the wealth of art and as a performer has a conscious of everything around us, can be
pressure goes up and when you are in that responsibility to present the art in all its extremely rewarding for an
state of mind, to produce good music is pristine glory. Thus, an artiste has to take artiste. Practising Yoga is a journey, and
difficult. Somewhere, Yoga and meditation care of physical, mental and emotional there are many revelations that happen
together help me keep that calm and keep health. And the practice of Yoga is the best along the way. So it is important to sincerely
that smile going. Because many times, even way to achieve that. Also, Yoga shapes surrender oneself to the energies and be
after the audience comes in and the concert one's personality in an all rounded manner, open to receiving and acknowledging all
starts, we hear all this ‘boo’ and ‘baa’ thus enabling the individual to be at peace that the cosmos has to offer.
sound from the microphone or sometimes within one's own self and make the world a
you are not heard and the violinist is heard happier place to live in.

SAMĪKṢĀ
YOGA THERAPY & RESEARCH

EFFECT OF ĀSANA AND VEDIC CHANTING PRACTICES

ON LUNG FUNCTION AND COGNITIVE PERFORMANCES
IN SCHOOL CHILDREN
DR. LATHA SATHISH WITH DR. SUBBULAKSHMI
ABSTRACT training was significantly related to their lung

function (Post PFR, Beta=.51, .52, P<.01).
Background: Yoga practices such as Āsana

and Prāṇāyāma as a tool for promoting holistic Conclusions: Yogic practices combined with
development in children is widely chanting helps the children to increase their Dr. Latha Satish is a Former
acknowledged. An important dimension of lung function and cognitive performances. It
Research Scientist,
Yoga is Svādhyāya or Japā, which basically also reduces the distraction of the children.
Department of Psychology,
involves chanting. Very few studies have Further, girls performed better than boys in
concentration and processing speed tasks. It who has over three decades
evaluated the combined effect of practice of
Āsana, Prāṇāyāma and chanting among was also found that lung function predicts the of experience at the
children. The aim of this study is to find out the cognitive performances such as processing University of Madras. A
combined effect of the Āsana, Prāṇāyāma and speed and concentration.
long-time student of Śrī TKV

chanting practices on lung and cognitive
Key Words: Yoga, chanting, lung function, Desikachar, she currently
functions of school children.
cognitive performances
supervises all literary and
Materials and Methods: A total of 37 school applied research activities at
children of both genders (girls 18 and boys 17) INTRODUCTION the KYM, supports the KYM
in the age mean age of 9.23+/-2.67 participated
Institute of Yoga Studies and
in the study. They were attending 20 hours of Yogic practices as a tool for promoting holistic
Yoga and chanting practices spread over 10 development in children is widely the Department of Healing
days during their summer holidays. They were acknowledged. Researchers focused on Chants as Senior Mentor
given an hour of dynamic Āsana practices and cognitive skills, personality factors and and also offers her services
an hour of chanting practices which included emotional regulation as important outcome
as Senior Yoga Therapy
selected Vedic Mantra-s. Pre and post tests variables. An important dimension of Yoga is
were conducted on lung function and cognitive Svādhyāya or Japā, which basically involves Consultant and Therapist
performances such as concentration, chanting. Very few studies have evaluated the Trainer in KYM’s Cikitsā
processing speed and short term memory.
effect of the practice of chanting among wing. Dr. Latha Satish also
children.
served as Managing Trustee

Results: There were significant increase in the
Mooventhan and Khode1 did a study to learn from 2009 till 2014.
lung function (24.70%, P=.01), concentration
(number cancellation) by 17% (P=.01), the effect of Bhrāmarī Prāṇāyāma and OM ———
processing speed (16%, P=.01) and in short chanting and suggests that it helps in
term memory (44%, P=.01). It was also found improving the pulmonary function in healthy D r. Subbulakshmi
that there was significant reduction in the individuals. Researchers2 conducted a study to completed her Yoga teacher
distraction by 57%, P=.01 in number learn the effect of Vedic chants on memory, training at KYM and holds a
cancellation. However, there were no sustained attention and reported better Doctoral Degree in Yoga for
significant changes in the letter cancellation performances in chanting group compared to her intensive work on Yoga
tasks. Further, subgroup analysis based on non-chanting group. A study was conducted to for women with
gender revealed that the female group e v a l u a t e t h e i m p a c t o f Ve d i c c h a n t s hypothyroidism. She worked
significantly fared better than male in number intervention on Autistic Spectrum Disorder as a Research Associate at
cancellation tasks and digit substitution task. (ASD), and it concluded that auditory stimulus the Mandiram for nearly a
The performance of the children on processing has the potential to provoke the cognitive year.
speed (DSS) and concentration (NC) after abilities of the children.3

December, 2018
A pilot functional magnetic resonance MATERIALS AND METHODS Sūtraṇi, Sahanāvavatu, Śivapañcākṣarī
imaging study4 showed that the Mantraḥ.6
neurohemodynamic correlates of ‘OM’ A total of 37 school children of both
chanting indicated limbic deactivation.

genders (girls 18 and boys 17) in the age ASSESSMENT
with mean age of 9.23+/-2.67 participated
Time-Frequency Analysis of Chanting in the study. Parents gave informed Peak Flow Meter (PFM): PFM was used to
Sanskrit Divine Sound “OM” Mantra consent for their child to participate in the measure the Peak Expiratory Flow Rate
c o n fi r m e d s c i e n t i fi c a l l y t h e study. The children were attending 20 (PEFR). PEFR helps to know the functionality
accomplishments of OM chanting in hours of Yoga and chanting practices of the lungs. By blowing fast via a mouthpiece
reducing the stress from the human mind.5 spread over 10 days during their summer on one end, the PFM can evaluate the force of
The concept of “Svādhyāya” or “Japā” has holidays. Peak expiratory flow rate was air in liters per minute and give a reading on a
been prescribed as an important principle measured using peak flow meter. Number built-in numbered scale.
of personal discipline (Niyama) in Yoga. and letter cancellation tasks were given to
This discipline is to train the mind in the the children. Children were shown some Digit Symbol Substitution Test: This is one of
pursuit of Self knowledge and also to visual images of geometrical designs and the subtests of Wechsler adult intelligence
promote wellbeing and clarity. Among the asked to recall the images after 60 scale, 3rd edition (1997). A series of numbers,
many processes of training the body and seconds. Symbol substitution was the task each of which is paired with its own
mind including Āsana, Prāṇāyāma and given to measure the processing speed corresponding hieroglyphic like symbol used.
meditation, chanting, and more specifically and comprehension.
Using a key, the subject is to write the
Vedic Mantra recitation form an integral symbols corresponding the numbers which
part. Application of Vedic Chants has been INTERVENTION measures processing speed. The time limit
a part of Yoga practices in the tradition of for the test given is 2 minutes. This test
Śrī T Krishnamacharya. This study aimed to assesses incidental learning and a digit
The children were given an hour of dynamic
explore the combined effect of Yoga and symbol copying process, which is a measure
Ā s a n a p r a c t i c e s i n c l u d i n g Vi n y ā s a
chanting on lung functionality and cognitive of perceptual and graphomotor speed. The
sequences, balancing and inverted
performances of the children.
reliability coefficient ranges from 0.70 to 0.90
postures. They were also given an hour of
chanting practices which included Vedic across different age groups, indicating a high
Mantra-s such as Āyurmantraḥ, Maheśvara reliability of the test.

Cancellation Test: The cancellation test is a cognitive task to measure the rate of performance of an individual in a given time. It
is an indicator of both focused attention and information processing speed. The cancellation of letter as well as number can be
used as target stimulus. Two minutes time was given to cancel the specified letters. The score will be the number of correctly
cancelled letters as well as omissions as error index can be obtained. Similarly two minutes were given to cancel the specified
numbers. Care was taken to change the target letters and numbers at post assessment to avoid familiarity of task.
Visual Reproduction Task: This involves an ability to remember visually presented information after a delay of 60 seconds. The
total number of correctly recalled designs is indicative of visual immediate memory capacity. The total number of design
presented is 11. The scoring of one point for correctly recalled design is given. Order of recall and skills in drawing the designs
were not taken into consideration.
DATA ANALYSIS
Statistical analysis was performed for the pre and post tests data. Students’ paired “t” tests, independent “t” test and
regression analysis was used to analyse the data.
RESULTS
The results from pre and post were analysed and presented here under.
S.No Tests Pre Test Post Test Mean Difference “t” Value Significance
1 Flexibility 35.40 29.94 5.51 1.06 0.29
2 Peak flow rate 175.86 219.31 43.44 4.94 0.01**
3 Number omissions 35.67 15.20 20.74 3.06 0.01**
4 Number comission 54.94 64.50 9.55 2.71 0.01**
5 Letter omission 6.75 6.46 0.28 0.25 0.80
6 Letter commission 23.84 20.75 3.09 1.60 0.11
7 Pattern drawing 3.75 5.40 1.65 5.93 0.01**
8 Digital symbol 53.75 62.58 8.82 3.90 0.01**
** Significant at 0.01 level

The PEFR has significantly increased after the intervention (t=4.94, P<.01). Cognitive tasks such as commission of numbers, pattern
drawing and digit symbol substitution has increased significantly (P<.01). Omission of numbers has reduced significantly (P<.01).
However, there were no significant differences in letter commission and omission. This could be due to a larger range of searches for
alphabets than the numbers. The children showed felicity for focusing on 0-9 numbers and they had to only search for either ‘odd’ or
‘even’ numbers, whereas in letters they had to scan all 26 alphabets to choose five letters. The complexity of the search might have
hindered the performance.
GENDER DIFFERENCES IN COGNITIVE PERFORMANCES
S.No Cognitive Tasks Mean Differences “t” Value Significance
1 Number commission 35.27 3.37 0.01**
2 Digital symbol substitution 20.80 2.32 0.02*
** Significant level at 0.01 level

* Significant level at 0.02 level
Subgroup analysis based on gender revealed that the female group significantly better than the children in the male group in number
cancellation and digit substitution tasks (P<.01). The pretest scores of the children in these tasks do not differ significantly.
SIGNIFICANT PREDICTORS OF COGNITIVE TASKS
An interesting factor was noticed by the investigators about which factor predicted the cognitive task performance. Within the
available sample data on post test scores, a simple regression analysis was carried out. The following table summaries the results.
S.No Dependent Predictors R Square Beta “t” Value Significance

Variable
1 Post PFR 0.28 0.51 2.59 0.01*
Post-DDS Score
Pre-DSS -0.062 -0.311 0.759
Score
2 Post-PFR 0.37 0.52 2.98 0.01*
Post NC
Pre-NC -0.17 -1.00 0.327
DSS - Digit symbol substitution; PFR - Peak flow rate; NC - Number commission
** Significant at 0.01 level

December, 2018
The performance of the children on explore further the mechanism related to repeated and continuous chanting and
processing speed (DSS) and concentration breathing ease, alertness and performance.
reduced anxiety might have enhanced the
(NC) after training was significantly related processing speed. 12 combined Yoga and
to their lung function (Post PFR, Beta = .51, DISCUSSION chanting practices could have facilitated
.52, P<.01). 28% of variance in digit the breath ability of the children which
s u b s t i t u t i o n t a s k w a s s i g n i fi c a n t l y predicts better cognitive performances
Dynamic Āsana practice combined with
positively predicted by the level of peak such as processing speed and
chanting of different breath ratios might
expiratory flow rate. The pretest concentration.
have facilitated the lung function in the

performance level of the children on this
children. Cancellation tasks involve
test was not a predictor. Similarly, quantity Limitations of this study are that subjects
sustained attention, concentration, visual
of number cancellation task was were recruited from the summer Yoga
scanning, activation and inhibition of
significantly positively predicted by (37% of camp which could confound variables of
impulses.10 The performance has increased
variance) peak expiratory flow rate. Pre- the study. There is no control group to
by 17% and distraction has reduced by
performance level on this task was not a compare the differences. It is a short term
57% for number cancellation and
contributor. These results suggest that study, duration of the intervention was only
omission. The short term memory has
there is a link between breathing comfort for 20 hours spread over 10 days. Sample
increased by 44% from pre to post test.
and cognitive task performance. size is low. Further long term studies with
These findings are in tune with the previous
Researchers reported that cognitive large sample size are needed to generalise
study conducted by Sripad Ghaligi, H R
function and FEV1 are positively the results.
Nagendra and Ramachandra Bhatt.11 The

associated across the life course. One
authors also suggested that chanting
influences both the hemispheres of the CONCLUSIONS
possible explanation reported is in the
parallel action of endocrine, autonomic,
brain resulting in good memory and
and motor control system on respiration
attention. Children showed improved Combined practice of dynamic Āsana with
and higher mental function.7
processing speed and comprehension by Vedic Mantra for a short period might have
Researchers[8],[9] found that decreased lung
16%. Using a different methodology (cyclic facilitated the breathing capacity and
function is related to poorer cognitive
m e d i t a t i o n ) o t h e r r e s e a r c h e r s performance on specific cognitive tasks
function and increased subcortical atrophy
demonstrated significant reduction in state among children.
in mid-adult life. This presents a need to

anxiety scores.12 Calmness of mind from

December, 2018
REFERENCES
1. Khode, V, Mooventhan, A. Effect of Bhrāmarī Prāṇāyāma and Chanting on Pulmonary Function in Healthy Individuals: A Prospective
Randomised Control Trial. International Journal of Yoga 2014;7(2):104-110.
2. Sripad Ghaligi, H R Nagendra and Ramachandra Bhatt 2006 Effect of Vedic chanting on memory and sustained attention. Indian
Journal of Traditional Knowledge, Vol. 5(2), April 2006, pp. 177-180.
3. Kandasamy Dinesh Kumar, Sushruth Badhe and Sathiyavedu Santhiya “Impact of Vedic Chants Intervention Programme on Autistic
Spectrum Disorder.” This article is part of the supplement: Proceedings of the International Conference on Human Genetics and
39th Annual Meeting of Indian Society of Human Genetics 2014 Molecular Cytogenetics 2014, 7 (Suppl 1):P129 doi:
10.1186/1755-8166-7-S1-P129.
4. Bangalore G Kalyani (2011) et al “Neurohemodynamic Correlates of ‘OM’ Chanting: A Pilot Functional Magnetic Resonance Imaging
Study.” Int J Yoga. 2011 Jan-Jun; 4(1): 3–6.
5. Gurjar AA, Ladhake SA. Time-Frequency Analysis of Chanting Sanskrit Divine Sound “OM” Mantra, 2008, IJCSNS International
Journal of Computer Science and Network Security, VOL.8 No.8
6. Mantra Mālā - A Compilation of Mantra-s from the Veda-s and other sacred texts, Krishnamacharya Yoga Mandiram, 2008
7. Richards M, Strachan D, Hardy R, Kuh D, Wadsworth M. Lung Function and Cognitive Ability in a Longitudinal Birth Cohort Study.
Psychosom Med. 2005 Jul-Aug;67(4):602-8.
8. Sachdev PS, Anstey KJ, Parslow RA, Wen W, Maller J, Kumar R, Christensen H, Jorm AF. Pulmonary Function, Cognitive
Impairment and Brain Atrophy in a Middle-aged Community Sample. Dement Geriatr Cogn Disord. 2006;21(5-6):300-8.
9. Pathan SS, Gottesman RF, Mosley TH, Knopman DS, Sharrett AR, Alonso A. Association of Lung Function With Cognitive Decline
and Dementia: The Atherosclerosis Risk in Communities (ARIC) Study. Eur J Neurol. 2011 Jun;18(6):888-98. doi: 10.1111/j.
1468-1331.2010.03340.x. Epub 2011 Jan 18.
10. Lezak M, Howieson DB, Loring DW. Neuropsychological Assessment. New York: Oxford University Press; 2004.
11. Sripad Ghaligi, H R Nagendra and Ramachandra Bhatt 2006 Effect of Vedic Chanting on Memory and Sustained Attention. Indian
Journal of Traditional Knowledge, Vol. 5(2), April 2006, pp. 177-180.
12. Natesh Babu, Balaram Pradhana, H R Nagendra A Comparative Study on Two Yogic Relaxation Techniques on Anxiety in School
Children. (Ijoyppp.org)

December, 2018
INSIGHTS FROM THE TEACHINGS OF

December, 2018
w a y t o l i n k w i t h t h e t e a c h e r, n o t
intellectually but beyond the intellect. So,
Vedic Chanting is a link with the teacher
and therefore, through the teacher, a link
with the whole tradition the teacher has
come from. This link that is not based on
just meaning or sound, but something
more, is the specialty of Vedic chanting.
This is the reason why Vedic chant
stimulates us so much.
Is Vedic Chant only reserved for a

particular section of people?
Of course, Vedic Chanting is so much

linked with the religious aspect, which
consists of rituals and related issues. In
many of the Vedic passages, we can find
the Mantra-s that are used in rituals. A
person had to know both the rituals and
the Mantra-s in order to use them. It is a
INSIGHTS ON VEDIC CHANTING FROM AN combination of Karma and Jñaña.
INTERVIEW WITH ŚRĪ TKV DESIKACHAR* Apart from this I think there is another side
to it. There is no reference in the Vedic
passages that bar anybody from Vedic
What is Adhyayanam? one of the simplest recitations. There are
chanting. These things are mentioned in
only three notes unlike many in music.
the Smṛti-s. We can find many feminine
The student sits in front of a teacher, listens Hence it helps prepare one to appreciate
names in the Mantra-s. Upaniṣad-s talks
to how the teacher recites and repeats it music better.
about conversations between women and

exactly the same way. This is Adhyayanam,
men.
the Sanskrit term for Vedic chanting.

A possibility to experience silence is
another benefit of Vedic Chant. This is
So, if we take out the ritual aspect, why
What are the benefits of Adhyayanam? because we cannot be engaged in
should we not chant something that is
something else while we listen to the
giving us some help? As my teacher T
Apart from the religious aspects of Vedic teacher, because we have to repeat. We
Krishnamacharya says, this is for Kāṁya -
chanting, there are a other benefits to are not repeating what we know, but
whatever gives some benefit, we must do
Adhyayanam.
reproduce what we have heard. So there
it.
is an element of silence involved, where

Since the student has to listen and then nothing else should enter the mind. The
Another issue of concern is that, if we don’t
reproduce it the same way it was heard, it moment something else enters, we
teach those who are coming to learn, but
develops the ability to listen. As a cannot listen and repeat correctly. So this
insist on people who should learn, but
consequence of this, it also enhances helps in experiencing silence.
don’t do so, this precious teaching will die.

patience and memory. This is because the So we only teach those who want to come
student can start to recite only when the What is special in Vedic Chanting when
and learn. The time now is known Āpatkāla.
teacher has completed, until which the compared to other chanting?
This way the teaching continues. The great
student must pay attention.
gift that was given by ancestors must carry
When we do Vedic Chanting, we sit in
on. It cannot remain in a book. Whoever
Another benefit of Adhyayanam is that it front of our teacher and we listen and
has faith, we teach them. Whoever has
helps appreciate music. Vedic Chanting is reproduce what the teacher says. It is a
interest can learn to chant.
*Reproduced from Vedic Chant Companion, published by KYM in the year 2000

December, 2018
In ancient times, what was the was taught to those families following What is Nāda and how is it related to
p re re q u i s i t e t o l e a r n i n g Ve d i c Yajur Veda (Śukla or Kṛṣṇa). Similar Adhyayanam?
Chanting? was the case with those from Sāma
Veda and Atharva Veda families. Some Ancient masters observed that if we
Vedic Chanting is in Sanskrit language things were taught commonly like are short of breath, if we are not
and hence it was important for the Ta i t t i r ī y a U p a n i ṣ a d o r Ta i t t i r ī y a strong, if we don’t have good
student to have correct Sanskrit Āraṇyakam.
digestion, if we don’t have a good
pronunciation. So before Vedic Chanting ‘fire,’ or if we are fasting, we can’t
was taught, the training of Akṣara How often would the student meet chant properly. So they felt that sound
Saṁskāra was given. Akṣara Saṁskāra is the teacher? was not coming just from the throat
to repeat the Sanskrit syllables correctly. but is preceded by the person’s
It also involved a word to be recited Unlike now, where we visit our teacher, conscious attempt to produce it.
many in different cases. This is called in those days the student would stay
Vibhakti.
with the teacher, it was a residential This is reflected through a link between
program.
the fire that is in the abdomen, which
Then the basic rules of Sanskrit links to the breath, which is in the
grammar (Vyākaraṇa) were taught. Was there any specific position of chest. Ancient people felt that the fire
Then the students were initiated to the body in which the teacher would is one energy and breath is another
Amarakoṣam where all the important teach? important energy. Hence when Nā
name sand terms that appear in the (representing fire) and Da (representing
Veda-s are organised in such a way, so Usually Vedic Chanting would be breath) meet the result is Nāda, which
that we know what these words mean.
taught in a seated posture. But there is the basis for Śabda, which is what
would be occasions where it could be we hear.
When they began Vedic Chant, what different. My teacher always felt that
was the procedure? we must be able to chant in different Nāda is not something that you hear
postures, so that the whole system outside. Nāda is something that I might
In ancient days the students were first starting from where the sound comes hear when I am quiet and without any
taught now to say OM, then Gāyatrī from (Mūla) to the throat gets into a outside sound. It is the inner sound
Mantra, then the simple Upaniṣad-s, deep training. So I have done chanting called Ābhyantara Dhvani.
like the Taittirīya Upaniṣad. After in Āsana-s like Vīrabhadrāsana,

learning the Taititrīya Upaniṣad, some Uṭkatāsana, Kukkutāsana, So, this is a very strong idea in India
people would be taught Rudram and Bhujangāsana, and of course, in the that Nāda is the foundation for Śabda
Camakam because this would give a sitting postures.
(Voice that is heard through Vedic
good training in pronunciation and also chant.
to honour Śiva, the giver of Sanskrit What was the duration of the
language.
chanting sessions? What are the disciplines that help in
Vedic Chant?
T h e f o u r c h a p t e r s o f Ta i t t i r ī y a The chanting session that I went
Āraṇyakam would be taught next The through used to take a minimum of one Voice is so important. The power of
Saṁhita and Brāhmaṇa would follow hour. During my father’s time, it was speech is reflected in Vedic Chanting,
this. Then the Pada, Krama, Jaṭa and sometimes 3 or 4 times a day covering According to Chāndogya Upaniṣad,
Ghanam of the Saṁhita would be about 6 - 7 hours a day.
Ghṛtam (ghee) is very important for the
taught.
voice. Anything that harms the voice is
Why is Vedic Chanting associated not good for Vedic chanting. Because
Was this the standard learning when the teacher chants, I have to
with strict rules?
procedure for everyone? repeat. This means, I have to chant so
clearly that it should reach the teacher,
It is only for the sake of consistency. I
No, there were differences. It depends who will correct me, and others who
cannot spell one word one way and
on the family the student came from. If a re l i s t e n i n g . S o , a n y t h i n g t h a t
you spell the same word differently. So,
the student was from a family nourishes the voice is the most
to have consistency we have to evolve
belonging to Ṛg Veda, mostly Ṛg Veda important discipline and anything that
some rules.
was taught. Yajur Veda (Śukla or Kṛṣṇa) disturbs it is to be rejected.

So, in Āyurveda, for example, they say sour food is not good, sour curd is not good, while milk is good, saffron is good,
breathing exercises are very good, Proper position of the spine is a must.
What will help proper spine and good breathing?
We must have the training of the breath so that one can do it continuously which will leave little time for breath. In ancient times,
Yogāsana and Prāṇāyāma were taught to aid Vedic Chanting. In our rituals, where Vedic Chanting is introduced, the first step is to sit
and chant in Uṭkatāsana (squat position) and then do Prāṇāyāma in this position. If a person can sit in Uṭkatāsana and do chanting, it
means he has a good breath and health to do chanting in a proper Brahmāsana or Sukhāsana.
When and where can I do Vedic Chanting?
If something is important, and I consider it so, I will always honour that importance. In the Indian tradition Vedic Chant and prayers are
used almost in every activity. For example, while taking bath, before, during and after meals, receiving guests, wearing a new cloth,
disposing waste.
Now, one can chant mentally while travelling. For example, I chant when I am in the plane. I am not going to do it loudly because I
cannot do that in the airplane. But, I do it mentally because that’s the way I keep myself engaged on the flight. So, I think if somebody
appreciates the sanctity of Vedic chanting because you cannot make mistakes, you have to pay attention; there is no worry about
where it is going to be done. Today, there is always a problem of culture. Sometime, it is not often appreciated. I personally feel that
people who honour Vedic chanting will be rarely casual about it. I said those who honour Vedic Chanting, not those who can chant, I
don’t think they will make mistakes.

AN ENDURING WISDOM
QUESTIONS ON YOGA ANSWERED BY


December, 2018
QUESTIONS ON YOGA ANSWERED BY

This segment features
questions on Yoga raised
What are the circumstances under which used. Also the person should be helped to
by various readers of
one should not practice Yoga? relax because a lot of speech problems are
Darśanam, when it was also due to tension. So we help the person to
being published in the There are specific circumstances when one relax by giving breathing exercises. Some
early 90’s. Over two may have to avoid practice. For example medications are also given. Herbs like
when one is having fever or immediately after Vasambu (Vacha or Acorus calamus) or
decades have gone by
a surgery one cannot do Yoga.
Gorochanai are also given for these problems.
since Darśanam was last

published, but our But there is no exception in the sense of there Is it necessary to learn a lot of Sanskrit to
questions haven’t being a personality or a type of person who be a student or teacher of Yoga?
cannot practice Yoga! My father used to say
changed. Śrī TKV
that anybody who could use his fingers to eat Till yesterday, I thought that it is required.
Desikachar’s answers,
could practice Yoga! Yesterday we had a Then I met this man who is well versed in
given in his own person who came here with Parkinson’s Thirumandiram (a Tamil classic). I said to
inimitable style, are no disease. He was able to respond very well. I myself, why did I study Sanskrit? - I should
less relevant either. Some told his mother he could do Yoga. It is good have studied Tamil! Great people were able to
for his mind. Of course we cannot ask a p re s e n t i m p o r t a n t t e a c h i n g s i n o t h e r
of these questions and
person, lying sick in bed perform Yoga.
languages like Tamil also. However, I cannot
answers have been deny the power of the Sanskrit language.
reproduced here. Names But this also depends on what kind of Yoga When we do chanting in Sanskrit even people
of people asking these we have in mind. For example there are other who are not used to Sanskrit are stunned with
types of Yoga like Bhakti Yoga etc. It is even the power of the language. There is
questions have been
good to just listen to people chanting, if a something in the sound of Sanskrit. That is
intentionally withheld. person is unable to do any chanting. Just by why it has been called as “Saṁskṛtam” - i.e.,
listening, the person may actually be “refined.”
reverberating the sound that he hears.

Recently I was asked to visit a patient with But I don't think that a person who knows
terminal cancer. They insisted that I should Sanskrit is necessarily a great Yogi; nor can I
see the patient. I went there. The person had say that a person who wants to go to higher
lymphatic cancer and was taking all the levels of Yoga, must know Sanskrit. In that
medicines. He was not conscious. Just case, Nammālvār could not have been a Yogi!
sinking. They wanted me to do something. I

asked the son if he knew any Mantra-s. He
said that he knew Āditya Hṛdayam. I asked
the son to recite this thrice a day, so that his
father could hear it. Recently I got a letter
thanking me. He said that his father had died
peacefully.
C a n Yo g a h e l p i n t h e p r o b l e m o f
stammering?
If a person has a speech problem we have to

use certain distinct syllables for him.
Exercises are given - the tip of the tongue is

December, 2018
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N ĀDAM-VEDAM -GĪTAM -N ṚTYAM

ADVISORY COMMITTEE | MR. S SRIDHARAN, TRUSTEE KYM, DR. LATHA

Website | www.kym.org | www.kymyogavaisharadi.org

Darśanam | December 2018 2

A Quarterly Journal on Yoga and Yoga-cikitsā from Krishnamacharya Yoga Mandiram

A NOTE FROM THE EDITOR’S DESK

Darśanam | December 2018 3

Darśanam | December 2018 4

SEEKING A TEACHER, ŚRĪ TKV DESIKACHAR

at a point where I was seeking a teacher to take

Founder of Agama Yoga

mentoring Yoga teachers

Darśanam | December 2018 5

A Quarterly Journal on Yoga and Yoga-cikitsā from Krishnamacharya Yoga Mandiram

Darśanam | December 2018 6

just like this,” he said as he turned his neck awkwardly. “Nothing

heartfelt communication that was eﬀective where ordinary

• I-nspired by loved ones

• F-orgiving the errors

many people who were not very experienced in Yoga wanted to

Darśanam | December 2018 7

A Quarterly Journal on Yoga and Yoga-cikitsā from Krishnamacharya Yoga Mandiram

seat and scooped up all of the tiny pieces of rubber from my

Sir encouraged us to be eﬃcient with resources at the mental

a go and possibly get it wrong, I squandered opportunities to

At the end of my annual study with Sir in Chennai in the late

Darśanam | December 2018 8

ARTISTIC, LITERARY & PHILOSOPHICAL

Darśanam | December 2018 9

A Quarterly Journal on Yoga and Yoga-cikitsā from Krishnamacharya Yoga Mandiram

experiences of a material nature and Apavarga –

Nrithya holds a Master’s degree in

U NIVERSAL R EVERBERATIONS , I NNER Bharati title bestowed upon her by

that this universe is believed to have evolved.

Darśanam | December 2018 10

A Quarterly Journal on Yoga and Yoga-cikitsā from Krishnamacharya Yoga Mandiram

The Mahābhūta-s, are stated in the Sāṁkhya-

But matter in and of itself cannot exist in isolation.

It is the coming together of the vital energy, Prāṇa,

Nāda or the primeval vibrations may be further

Anāhata Nāda can be experienced deep in the

Darśanam | December 2018 11

Kālidāsa in Mālavikāgnimitram, proclaims

Nāṭyambhinnarucerjanasya arts, Saṅgītam has the great power to

the mind to a tranquil state.

either Bhoga, which brings us back to the singers and dancers).

While one can use any object of

TKV Desikachar specifically highlights the

Darśanam | December 2018 12

A Quarterly Journal on Yoga and Yoga-cikitsā from Krishnamacharya Yoga Mandiram

immersion even further, for the dancer has

Such depth of immersion is what makes

In fact the Taittīriya Āraṇyaka very THE JOURNEY WITHIN

Darśanam | December 2018 13

that chanting is a function of exhalation, Temple walls may be movements that

dancer. The external expression of this musicians of every genre, be it vocal,

as a fundamental tool in gradually

Given that music and dance are Kelucharan Mohapatra, a Zakhir

performance of Yajña, many of which