Karma Dharma Moksha

Being able to do, what we want to do, when we want to do it, without, hurting others and ourselves in the process is Moksha. There is no buddhist, islamic, hindu, or any other world religion that tells us otherwise. Doing what we do to the best of our abilities is karma, it is also dharma. The side effect is Moksha. Moksha is not a destination. There is no destination. That’s the beauty of it all. When we know there is nowhere to go, does it matter if we have little or more time. There is just action to be done.

Gods aren’t liberated beings, they need to take a corporeal form to get liberated. Gods are alpha, beta, delta, gamma, omega beings that yearn to be born in a human form. So that they can liberate themselves to join the Overmind. Gods like to do karma and reinstate such karma as dharma to get Moksha. Manifestations to perform various karmas, to get to Moksha happen in an event based space called the Universe. Ths is Karma kshetra, it is the dharmakshetra and is the kurukshetra.

Do not follow a buddha, or become a buddha, do not let ideas, incept ideas in you, that is not you. If you have a idea first within you, and then you see that someone has put it in good words, you can point to that, but thats that. Forget that idea, let it pass. Do not hold on to it.

 

Shiva Nata: An ancient yogic system

Shiva Nata – The Dance of Shiva

Transitions from one Asana or Vinyasa to another one are accompanied with the movements of the arms or legs. In general terms, these movements are variations of Vinyasas, as they are synchronized with the breath. But these do not form any particular group of Vinyasas, which is a functional element of the «Universal Multilevel Vinyasa Algorithm», but they comprise parts of these Vinyasa groups used when transiting from one Asana or Vinyasa to another one.

Such arm and leg movements may be done with a number of similar options. For example, if standing upright, start to bend forward with the arms raised above the head and lower the hands onto the floor. During this move, there are a minimum of three optional ways of how the arms will move: forward and down, to the sides and down, and back and down.

In addition, there are a number of special breath exercises that are accompanied by similar movements of arms or legs. The arms are associated with the chest by means of muscles, and the legs are associated with the abdominal cavity, and both participate in the breathing process. This means that breathing characteristics largely depend on the trajectory and movement characteristics of the arms and legs in breathing exercises.

Unfortunately, in many Yoga schools with many progressive technical elements and methods, these movements are performed with extreme simplicity, primitively and without exaggeration. But at the same time these movements largely determine characteristics of energy flows in peripheral channels, it is still necessary to study the main dynamic principles of the limbs and their impact on breathing characteristics. That is why it is important to introduce the nature of such movements into the practice of Yoga, and to make conscious all the movements with arms and legs made during training. This increases the effectiveness of breathing exercises by using specifically selected movements with the arms and legs.

Analyzing a theoretical model of the moving arm or leg, attached to a tentatively immovable body, we can see that these movements may be performed in one, two or three planes. Single-measured movements are performed by «directly» extending an arm or a leg. Double-measured movements are performed by their “plane” ones. And triple-measured movements occur when performing «three-dimensional» spiral movements.

In this connection, there are three groups of limb movement: linear, plane and dimensional.

Theoretically, when performing purely linear or single plane movements, the elements of the skeleton are required to be driven by a single muscle or by several parallel muscles set in the same plane as the direction of the movement. But, since the human body is constructed so as to provide movements in different directions, the limb controlling muscles are attached to the elements of the skeleton at different angles. And observing the natural dynamics of the body, one can see that almost all of its movements are effected by the operation of muscle groups rather than by individual muscles. When a particular movement takes place, the load is completely or partially transferred from one muscle to another. This is accompanied by changes in the angle of the application of the driving effort. Therefore, natural movements can rarely be purely linear or single-plane (only within a short track). Most often these occur upon the abrupt relaxation of the muscles when a particular part of the body falls freely.

To make the technique of liner or single-plane movements more sophisticated and natural, they should be complemented with specific motions that make the movement three-dimensional. So for example, linear bending (unbending) of an arm (leg) may be effected in a «whip-like» way or be rotated around its axis. And in a single-plane radial movement of an arm (leg), it can be simultaneously rotated around its axis.

Compared to linear and single-plane movements, three-dimensional spiral movements have a number of benefits and positive qualities. Firstly, these are the most natural and balanced movements. Secondly, they are performed in three planes and their trajectory consists of both linear and radial motion moments, and subsequently, this implies the ability to perform and control these movements also. Thirdly, three-dimensional spiral movements cover almost all-possible positions «within the Marginal Mobility Circle» of the arms and the legs. This allows one to control this space and link any points inside this space between themselves. Fourthly, performing such spiral movements employs all muscle groups of the arms, legs, shoulder and hip girdle, which results in powerful and comprehensive strengthening effects during training.

Since movements with the limbs include overcoming gravitation, there is a relationship between the force lines of the Earth’s gravitational field and the «inner energy flows». According to the «action equals counteraction» rule, the upward movement of the limbs against the gravitational force relates to actively overcoming energy flows. Or it is possible to say that the active component of the gravitational force is transferred to the channels of the arms and legs. And on the contrary with moving the limbs down, on the gravitational force movement, the activity of energy flows decreases. For all that the activity of gravitational force carries out the work of falling down the limbs and a passive anti-flow is filled in the energetic channels of the arms and legs.

Continuous spiral movements consist of two complete counter-directional sine curves. Therefore, performing such movements sets a series of alternating active and passive fragments of the energy flow. These energy impulses purify energy channels and balance the circulation of energy inside them.

Synchronizing spiral movements of the limbs with the breath creates a constant and intensive energy consumption from the surrounding space, translation of it through psychic-energy structure channels, and accumulation and radiation into the surrounding space.

Such spiral motions were widely used in early Buddhist practices. Initially these were the elements of the Dance of Shiva, a Yogic art which develops conscious control, coordination and the potential abilities of the body, without specialized application in life.

Later, Boddhidharma exported them to Shaolin, and on the basis of these movements applied martial art techniques were developed with the use of one’s own body and various weapons: a sword, a pole, a spear, etc. These techniques became the perfect means for developing the functional abilities of the body, increasing the organism’s energy potential, the controling and coordinating several «sectors» of various body parts at the same time.

It should be noted that having a weapon in the hands promotes an increase of density energy flowing through arm channels, and more intensively develops the strength and endurance of the fighter. But there is another side of using weapons in training: it reduces the requirements to the twisting capability of the joints.

Therefore, the Far East schools of martial arts allowed practitioners to exercise with weapons only after many years of practicing base exercises without any weapons.

Some of these exercises have become widely known today, for example «rotation of cups filled with water» which should not be spilled during radial spiral movements. In the Ancient Dance of Shiva, however, such cups contained oil and wicks, which were burning throughout the dance. And in rotating the cups no oil should be spilled, and the fire should remain burning.

This dance, performed against the background of starry skies, made an inexplicable impression…

The Dance of Shiva uses sixteen principally different basic movements and sixteen positions for two arms. And this number may be neither larger nor smaller.

The helix always has a central axis around which the rotation is effected. When rotating a cup, its upper surface and the palm should always be in the horizontal position, whereas the spiral movements should be around the vertical axis. In this event, the rotation of the cups is done simultaneously, as if in two parallel horizontal planes, and are connected by diagonal fragments of the transition movements from one such plane to another. Therefore, such spiral movements are called «horizontal».

At the same time, such horizontal rotation of the cups consists of two continuous radial movements along spiral trajectories: ascending and descending. Performing such exercises results in the integration of the upper and lower horizontal subspaces.

There are several levels for the practical learning of these movements. But, at the very beginning, it should be noted that the difference between these levels is not in physical complexity. It is in the level of control and coordination, as well as in the ability to follow a preset program for a long period of time, without being distracted. Then, faultlessly changing from one movement to another, performing them with technical perfection. But on the physical level, the complexity of these movements has little difference.

Transition from one level to another requires knowing a greater number of various combinations of these simple movements and supplementing linking movements, which correspond to improved coordination of the arms and legs. And the ability to avoid being distracted for a long time, and faultlessly follow a preset program corresponds to the increased level of controlling various positions of the arms and legs within the «Boundaries of the Marginal Circle» of their mobility.

Mastering the first level is sufficient for introducing the nature of such movements in Asana, Vinyasa sequences and breath exercises. But the first level will not be sufficient for the purposes of special development of control and coordination. Therefore, two development levels in this direction are considered below.

When analyzing the Dance of Shiva, it is required to understand from the very beginning that the word dance is applied provisionally, based solely on the external features of this phenomenon. It is necessary to imagine what happens with the energy body in the surrounding space during the spiral movements with the hands and cups. First of all, a spiral is a three-dimensional sine curve. And, as it is known from physics the movement of the energy media, e. g., electrons, along a spiral conductor creates an electromagnetic field. In this event, the electromagnetic force acts along the central axis around which the spiral movement is effected. Similar phenomena occur in the space around the human body if a man performs spiral movements with his arms or legs. In terms of physic science, such movements are accompanied with a definite movement of the life energy through the channels of the arms and legs. There are respective forces operating along the central axis, around which such spiral movements are performed, which interact with the surrounding space. The pulsating change of the ascending and descending directions of such spiral movements, with the cups being continuously rotated, causes such forces to pulsate and reverse.

Gaining experience in controlling energy flows opens many abnormal abilities. But, despite the temptation of mastering them, it is important to always remember the main purpose of this practice.

Despite the powerful energy-related effects occurring during the Dance of Shiva, these movements cannot be directly compared with Qi Gong, Tai Chi, Zong Shin, Kung Fu and other martial arts of Chinese, Vietnamese or Japanese heritage. It is important to remember that in these techniques, the main accent is made on the development of the energetic results connected with the feeling of movement and the accumulation of Power, and on the development of the strategic and technical qualities of a fighter. But in the Dance of Shiva, the main accent is made on the development of the multi-sector control of the body’s controlling structures, the increases of the speed of the controlling processes, and the forms of the new algorithms of transcendental links in the consciousness. These new links increase the power and generation of the bio-processor.

Of course, these controlling processes may be developed for special purposes through various exercises without the participation of the physical body. For example, the development of mathematical thinking, playing chess games and modern computer games leads to such narrow and lopsided development, and for some people, this narrow and one side development will possibly suffice. But the Dance of Shiva, however, allows the preservation of harmony in the developing of the body and Spirit. Since the body’s physical abilities are more easily developed than the spiritual abilities, the tasks of conscious control in the Dance of Shiva are rather simple compared to the tasks which may be required in purely «conceptual» practices. But, at the same time, these tasks correspond to the real level of the instrument (the body). Here one will never face the situation when the Spirit is ready to fly but the weak body is not even able to crawl, because there is balance between the Sky and the Earth, between the evolution of the ideal and material.

Ramayan: A Yogic Allegory

Ram symbolizes a Yogi-Sahdhak. He broke Shivdhanushya into pieces- this is the Avayava Chhedan of Merudanda (spinal chord). This experience can be achieved by superior Yoga practice only. Ram broke Shivdhnushya and got married to Sita (self-experience). He gave up worldly life and along with Sita (self-experience) and Laxmana (discretion/ prudence) eminent Yogi Ram lived in the forest Dandakaranya (for doing the penance of Merudanda Sadhana). After carrying out such Sadhana for 14 years with maturity and prudence, a Sadhak can become one with his soul. Some studies suggest that, 12- 14 years of celibacy also helps gather enough virility for a sadhak to potently direct the kundalini towards its goal.

Dandakaranya is a forest, where the house namely Panchvati is made of five senses. Ram cuts ears and nose of Shurpanakha (Avyava Chhedan or desire for women) and kills the golden deer i.e. covetousness. He has left his kingdom too. Thus, Ram is ready for Sadhana after giving up his all materialistic wishes. As Laxman (prudence) follows him Ram performs his Yog-Sadhana. Royal self-experience (Sita) is taken away by Brahmadnyana Ravan. When Sita, self-experience is lost, Ram becomes desperate and yearns for her. Laxman keeps his balance. The air element, Hanuman, meets Ram at Pampa Sarovar, the water element, and helps him to find out Sita. Hanuman, is one with the hanuvati, a chin. The dasa (servant) of atma ram (the self god) is Hanuman.  Sita is found at Brahmarup Ravan. Since Ravan has taken her away, Ram has to fight with him to get her back. This is the battle between good and evil attitudes. In this battle Ram kills Kumbhakarna who symbolizes Sadhana done by only listening. Other ill wills are also killed in this attitudinal war of Ram and Ravan. Egoistic Ravan has a son Indrajit, who has command over his limbs. Ram asks Laxman to kill Indrajit who is busy performing Yadnya. Brahmavastha is in the form of Ravan. He is egotistic as he has mastery over Vedas and knowledge. So Ram has to target his heart, meaning thereby, he has to change the mind-set totally and nurture that good attitude. Ravan is thus merged into Ram. Sita, self-experience, acquires grace of Brahmadnyan but has to go through an ordeal. Now, Sita is sacred, pure and symbolizes divine self-experience. She is also waiting to meet Ram after her stay with Brahmanubhuti. Ram and Sita and Laxman return to Ayodhya, a place where there is no war but peace. Ram symbolizes a Yogi-sadhak leading a peaceful life. Sita conceives two virtues namely Lav (time) and Kush (penance). Thus Ram achieves authority for Samdahivastha. But Story of Ramayan continues.

Chakras DeMystified – Part 1

Most people practicing Yoga would say that there are 6 chakras. Certain sects believe there are 7 chakras. Dr. Svoboda in his conversations with his mentor Vimalananda, reveals that an aghori knows of 9 chakras. Some specific Shiva Yoga practitioners believe there are 22 chakras, 6 within the body and the other 16 situated outside the human body and ascending upwards above the head.

Some deep mystics, claim there are all in all 24 chakras, that correspond to 23 tattvas and one mahattatva out of which the divine purusha and the universes manifested. These 24 chakras, also correspond to the 24 syllables in the sacred Gayatri Mantra.

However, without getting into much debate into the number of chakras, let us try to demystify the chakras.

What are Chakras?

I love Svoboda’s text on this subject, in his conversations with Sri Vimalananda. So, I am going to quote him directly.


Nadis and Chakras (Kundalini: Aghora 2, 83)

Arthur Avalon comments that:

” … from an objective standpoint, the subtle centers or Cakras, vitalize and control, the gross bodily tracts which are indicated by the various regions and vertebral column and the ganglia, plexuses, nerves, arteries and organs, situate in these regions. It is only therefore (if at all) in the sense of being the gross outer representatives of the spinal centers that we connect the plexuses with the Cakras spoken of in Yoga books. In this sense, only the whole tract which extends from the subtle center to the periphery, with its corresponding bodily elements, may be regarded as a Cakra. (The Serpent Power, pp 161-2)

The chakras are the knots that bind ahamkara into self-indentification with the substances that make up the universe. Each of the lower five chakras is the place where ahamkara and one of the Elements meet and interact; the chakra plugs ahamkara into the frequency of that Element, in effect broadcasting that Element into the organisms consciousness.


My oversimplification:
The Elements that Vimalananda refers to are the metaphysical elements or natural elements of Earth, Water, Fire, Air and Space or Ether.

Have you seen those pajamas for babies, the jumpers or body suits which have press buttons or studs? These press buttons run down from the neck all the way between the legs. When we open these press studs, we can remove the baby out completely of the pajamas. Now imagine if the baby is our soul and the pajamas is our flesh, bones, blood and the garb (our skin). Imagine the studs are invisible high energy wheels, revolving and keeping the soul attached to the garb. With the right kind of pressure, these chakras open and free the soul. That is how chakras work.

Nāda: The MicroCosmic and MacroCosmic Rhythm

Most of us can remember a fundamental concept taught to us in school when we learned of Molecular Motion, States of Matter and Gas Laws:

“All molecules are in constant motion. Molecules of a liquid have more freedom of movement than those in a solid. Molecules in a gas have the greatest degree of motion.”

We now know that even atoms and sub atomic particles are in constant motion. Everything from within the microcosm to the macrocosm is in perpetual motion. Incidentally, this concept has also been integral to the authoritative religious texts in Hinduism. Some intuitive findings of the ancient seers or Rishis, of India,  are based on the premise that the entire cosmos and all that exists in the cosmos, including human beings, consists of sound vibrations, called nāda. This concept holds that it is the sound energy in motion rather than of matter and particles which form the building blocks of the cosmos.

Dr. Robert E Svoboda maintains, in his article THE SOUNDLESS SUSURRATION OF THE KINDLY HEART ” Viewed from the perspective of creation, nada is “that which expresses,” the sound current from which manifestation occurs. From the perspective of dissolution, however, nada is the resonance that follows bindu, the last point that the experiencer holds to before relinquishing all sense of time and space. The transcendent bruit that is nada begins to reverberate through one’s self-awareness as soon as all differentiating thought disappears. Nataraja straddles the bindu fence between creation and destruction, everlastingly awash in the nada tide that He Himself engenders.

Nothing in the universe moves but Nataraja; all else that shifts position, form or condition does so solely through His whirl. Nataraja is the perfect embodiment of a Vedic formula for compressing Reality into words: satyam, rtam, brhat (“the true, the harmonious, the vast”). Reality exists (it displays truth, satyam), it has a natural order or rhythm (rtam) which is self-perpetuating and self-correcting (it is harmonious), and it is all-pervasive, extending beyond the farthest reaches of the human imagination (it is vast, brhat). Nataraja’s form expresses the solidification of resonance, the congealing of music and dance into form. The word ambara can also mean “garment,” and chid-ambaram thus also means “clad in consciousness,” in the same way that a naked sadhu is sometimes spoken of as being dig-ambara, “sky-clad, clothed in the ten directions.” Awareness covers the Lord of Dance, it surrounds Him as it emerges from Him. Alone at the center of the cosmos, He is the embodiment of the consciousness that gave the cosmos birth. Within the human microcosm Nataraja relentlessly dances a tarantella of blood and lymph at the heart-center, thumping out the rhythm of heartbeats endlessly disseminating oxygen and prana, the life force. Like the heart, which sits at the core of the chest, the center of any space or image, in or out of the body, should be relatively empty of matter but full of prana. Any central area is a “heart,” a chid-ambaram that should reflect and express ultimate nature, ultimate sound and rhythm by concentrating prana there. Prana, mind and breath all work together, in the internal and the external universe alike.”

The power (Hara) of the unmanifested absolute (Shiva), when manifested becomes the dynamic cosmic energy (Shakti), much like potential energy transforming into kinetic energy, from inertia to motion. The sound of this energy when “expressed” as Svoboda says, creates matter in various forms and size, ranging from atoms to galaxies to universes.

In the human form, the energy itself, first, manifests into thousands of ethereal energy channels or meridians (72,000) that carry the nada in and out of the body. It is my supposition, that these channels are thus called the naadis.

Inherent, within the nada, are laya and taala, the tempo and the beat. It is no wonder then why human beings are inherently perceptible to music at any age. Rhythmic vibrations, interspersed with silence, pattern within silence and silence within pattern. Space within matter and matter within space, matter that is nothing but energy bound in certain vibrations. We and the whole universe is nothing but these vibrations within and without.

 

Yoga: Union

Yoga, literally means ‘to add’, ‘to unite’. This is all it is, really. The word signifies the end more than the means to achieve the end.

Union of what? Yoga is the union of will with power.Will without power, cannot get things done. Power on its own is just chaos, if there is nothing to guide or harness it.

Yoga stands true to its name in every sense of the word. If we look at its operational aspect, whether it is hatha-yoga, raja-yoga, siddha-yoga or any other school of yoga, a yogi aspires to awaken vast measures of power (Kundalini shakti), lying dormant in his root chakra. Then strives to propel this power upwards, to the chakra that is the seat of the ‘will’. Thus uniting will with power.

The union of Shiva with Shakti. The union of Yin and Yang.
Merging of all dualities into a singularity.
Even cause and effect do not remain as two events separated by time. Similarly thought and action become one. When thought and action are the same, time dissolves and everything happens in a trice.

Perhaps the biblical verse “Let thy will be done”, makes more sense now.

 

Soul Karri Recipe: Nirvana

What you are and what you have is the best place to start. Objectively access the persona that your name means and put it in a box clled EGO component and paint it black to signify darkness, creator, or use your imagination and call it a black hole…”a hole in a heart shaped box”. It retains all the past till this moment. Dont take the mind for granted, treat her with respect, you got to know she’s a sensitive kind. Tell her you love her with your life. If you believe i know you will find, a finger and a ring that sets in your eyes.
Then magic happens. With no lingering past and the mind comfortable that it is squeezed into a blackhole and all of it has come to naught… the future too dissolves. Welcome to paradise UVWXY
I am the alpha and the omega.

Ramsai Karri