Rama Nama.

"Ram" has more than one application in Sanskrit. It is the "Beeja Mantra" (seed sound) for the manipura chakra (solar plexus chakra). Manipura could be translated as "City of jewels". Meditation on this chakra yields occult powers and this is one of the important chakras responsible for radiating 'prana' or life-force energy throughout the body.
By reciting the mantra, 'RAM' the manipura chakra is activated to be able to handle the flow of kundalini energy.
Secondly, 'Ra' and 'Ma' that forms the name 'Rama' are interpreted as follows: 'Ra' which is associated with the solar energy flows through the right side of the human body whereas 'Ma' which is associated with lunar energy flows through the left side of the human body. Repeating the mantra, 'RAMA' (even mentally) one is able to balance the solar and lunar energies for sound mental and physical health. Sidhdhi of Rama Nama blesses the entity with spiritual powers and elevation of soul.

Following are 3 powerful Rama Mantras:-

1)Om Namo Bhagavathey Raghunandanaaya Rakshognya Vishadaaya Madhura Prasanna Vadanaaya Amithatheyjasey Balaaya Raamaaya Vishnavey Namaha Om!!

The above sloka if recited one lakh times will grant "mantra-siddhi".

2)Om Kleem Namo Bhagavathey Raamachandraaya sakalajana vashyakaraaya Swaaha!!Above sloka is meant for general success and attraction.

3)Dasha Raama Naama Sthothram:-

Dhyaayaami RAAMA MabhiRAAMA
GiRAAMAranda DhaaRAAMAdhagna
MithaRAAMA MareyrviRAAMAm
AaRAAMA Madbhutha ThaRAAMAlasadgunaanaam
GhoRAAMAyagnya MasuRAAMAravandithaanghrim!!The above if recited yields the benefit of chanting the powerful name of Lord Rama ten times within one sloka,

Out of the world!

"Vishaalaneelothpalalochanaayai
Vikaasipankeyruhalochanaaya
Sameykshanaayai Vishameykshanaaya
Namah Shivaaya Cha Namah Shivaaya!"

(Excerpt from Ardhanaareeshwara Sthothram, by Adi Sankaracharya).Kumudakriya, the janya raga of Panthuvarali (Kamavardhini), 51st melakartha has been chosen by the great saint vaggeyakara, Sri.Muthuswami Dikshithar for his grand composition, "Ardhanareeswaram". The scale of Kumudakriya-Ascending:-Sa Ri Ga Ma Dha Sa; descending:-Sa Ni Dha Ma Ga Ri Sa. This raga falls in the "adbhutha rasa" (wonderment and awe)category of the navarasas (nine emotions).Contemplation on the prayogas or phrases Sa Ni Dha Ri', Ri Ga Ma Dha Ri, etc. invoke a sense of fantasy, make-believe or illusion. Imagine suddenly walking into somebody who is split into a perfect half of a perfect man and a perfect woman! It certainly is a heart-stopping sight! Absolutely dazzling and surreal! Kumudakriya, a breathtaking raga of fantasy, bestows wonderful events, fantastic happenings in life. Ragas yield results only when the "jeeva swaras" (soul-notes) are tapped and mastered. Mere humming or rendering of the scale are not sufficient to induce life into the raga.
Bhogavasantham another janya of Kamavardhini (Ascending:-Sa Ri Ga Ma Dha Ni Sa, descending:- Sa Ni Dha Ma Ga Ri Sa), so close to Kumudakriya (with only a slight variation in the ascending order) does not yield results like that of Kumudakriya. Bhogavasantham invokes joy, festivities and enjoyments.

Radhey Radhey!

15/09/2010,Jyeshta Nakshathram, Ashtami Tidhi.
Divine Birth of Radha.

















Radha-Gayathri:-
Om Vrishabhaanujaaya Vidmahey
Krishnapriyaaya Dheemahi Thanno Raadhaa Prachodayaath!

Popular Radha Bhajan by Shradeya AcharyaGaurav Krishnaji Maharaj

Sufism on Veena

Hazrat Inayat Khan

Noor Inayat Khan

The Sufi saint and Saraswathi Veena player, Hazrat Inayat Khan had authored several books regading abstract and unstruck sound ('anahatha shabda'). He used Veena as his vehicle to attain self-realization. His daughter, Noor Inayat Khan (visit website www.geoffreyarmes.com for more details about Noor) was a fine musician herself and played the Saraswathi veena. She authored the book, Sufi Princess. Noor Inayat Khan was born in the year 1914 in Moscow, Russia to Hazrat Inayat Khan and Ameena Begum. Almost all her youth was spent in Paris. After her father's demise in 1927 and the declaration of the 2nd World War and the invasion of France, Noor had no option but to move to England and she returned to France (Paris) in 1943 as an Allied spy radio operator. Captured by the Gestapo, she was held in solitary confinement and subjected to cruel interrogation methods. Despite the torture, Noor never revealed her identity to her captors. At the age of 29, in the year 1944, she was executed by the Gestapo. England and France posthumously awarded her the "George Cross" and "Croix De Guerre" respectively.
In one of his innumerable Sufi messages Hazrat Inayat Khan has stated that the Sufi knows of the past, present and future, and about all things in life, by being able to know the direction of sound. Every aspect of one's being in which sound manifest has a special effect in every direction. The knower of the mystery of sound knows the mystery of the whole Universe. Whoever has followed the strains of this sound has forgotten all earthly distinctions and differences, and has reached that goal of Truth in which all the Blessed Ones of God unite. Space is within the body as well as around it; in other words the body is in the space and the space is in the body.
This being the case, the sound of the abstract is always going on within, around and about man. Man does not hear it as a rule, because his consciousness is entirely centred in his material existence. Man becomes so absorbed in his experiences in the external world through the medium of the physical body that space, with all its wonders of light and sound, appears to him blank.
This can easily be understood by studying colour. There are many colours that are distinct by themselves, yet when mixed with others of still brighter hue they become altogether eclipsed; even bright colours embroidered with gold, silver, diamonds or pearls serve merely as a background to the dazzling embroidery. So it is with the abstract sound compared with the sounds of the external world. The limited volume of earthly sounds is so concrete that it dims the effect of the sound of the abstract to the sense of hearing, although in comparison to it the sounds of the earth are like that of a whistle or a drum. When the abstract sound is audible all other sounds become indistinct to the mystic.

Aadi Pooram - Ariyakudi

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Above is a photo of the street on which the Carnatic Music Emperor, Sri. Ariyakudi Ramanuja Iyengar lived. The first photo is of the legend himself.

I had performed in the Vairavar Temple (Kala Bhairavan) in Vairavanpatti on Aadi Pooram (August 12th). As it is a small, remote village my mother and I had to stay in Kaaraikudi which is around 15 kms from Vairavanpatti.That day being Andal Jayanthi, in the morning my mother and I went to Ariyakudi (5Kms from Kaaraikudi where we stayed) to Lord Venkateswara temple (famously known as "Thenn Tirupathi"). I asked the temple priest to give me guidelines to go to Sri Ariyakudi Ramanuja Iyengar's house. I was eager to see where the Monarch lived. Saying "Vaango" the temple pujari walked with me all the way outside the temple and pointing towards the opposite street he told me, "Ado avaaloda veedu inda theruvule daan irukku!"
Awestruck,I stared at the street. From there I clicked with my mobile.

Miracles of Veena

ESOTERICISM OF VEENA-

Maithraayanniya Upanishad states-"A drop of blood as it circulates within a human body takes along with it one breath of the human being. This drop of blood along with one breath takes nearly 7 minutes to circulate within the human body. Similarly, when the veena string is plucked once, the nada wave emanating from it takes nearly 7 minutes to travel back and forth between the bridge of the veena to the base fret of the veena."

The different properties of the woods used have an effect on the tonal characteristics of the veena. The grain pattern of the jackfruit wood used is important for veenas. The choice of wood plays a vital part in the aesthetics of the instrument.
Veena playing is not only about chemistry between 'nadam' of the veena and 'life-force energy' of the player. The interaction between human-body cells and the wood grains in the veena are equally thought provoking. Coming to think of the interaction between cells and grains/ 'nadam' and kundalini', we are able to understand how types of veena affect the player. The veena, appearing deceptively innocent has a potent nature and life of its own which can directly affect the player (provided he/she adapts the posture and breathing patterns required for veena-playing).
Continuous practice on a good veena (wood of fine quality due to seasoning at spiritual places, temples, on the banks of holy rivers or under a banyan tree, thereby devoid of doshas) yields results corresponding to the nature of the veena such as- sudden spurt of energy, sense of positivity, improvement in complexion, lush hair growth (in the case of middle-aged and the old, reduction in hair fall), shedding fat, agelessness, youthful looks etc. Playing on such veenas bring about good fortune, spiritual elevation and general prosperity. While such is the case with good veenas, one should watch out for any untoward events, ill health, bad luck, general disharmony, deterioration in physical complexion/ lack-lustre looks, fatigue, depression etc while playing on certain veenas. While all events and circumstances in life cannot be attributed to the veena one is handling, continual turn of bad events or atmosphere could certainly be attributed to the veena one is handling at the time of occurrence of bad happenings. This could be due to doshas in the wood, alignment of the frets (bad 'melam' of the veena dandi) etc. I have seen a veena that was made only on full moon nights. The veena maker would keep the wood aside on all other days except full moon nights to periodically transform the wood into a veena. Such veenas contain great spiritual powers and also lend a heavenly glow to the player.
Even the size of the veena plays a major part in affecting the player. It is essential for the player to feel comfortable while running his left hand across the dandi and plucking the strings with his right hand. Any strain on his/her biceps, elbows, hands and the chest region means the veena he/she is handling is not the corresponding size of the player. Normally a Saraswathi veena measures roughly upto 24 and a half 1/2 inches from the base note to the top note and 4 and a half feet from the simha mukha to the end of the kudam. Any addition or subtraction even by an inch or two to the length of the veena could be due to the size of the kudam (right side of the veena), resulting in an overall distinction in size yielding corresponding effects on the player. An ideal veena merges with the player to become his/her extension.

Yet another cosmic message!

(Above is a photograph of the Mother of Pondicherry)Many times we come across people with familiar features or attitude (body language, features, articulation etc.)bearing strong resemblance to our friends, relatives, acquaintances or someone who has hurt/angered or pleased/made us happy in the past. I made the startling discovery that such people bearing similar features of our past contacts cross our paths generally after we have lost touch ( for any reason) with those 'past contacts'. It could be a cosmic reminder or a karmic chain of contact!I recall the period when I had lost touch with a person many years ago. Within just a year of the event, I ran into another person from a totally different field, yet bearing an overwhelming resemblance to the past friend. That is when I realized that another entity bearing a strong resemblance to the past contact bumped into me to remind me of unfinished karmic business. Even if we are convinced that there is nothing more to the past, unfinished karmic business points to lingering thoughts or an interest from the past contact to reestablish contact. The only means to break the chain of karma is through detachment to the past and the person.
I tried to analyse the cosmic message behind such an occurrence (of meeting somebody who resembles a past contact). I understood that the person with whom we have lost touch could be mentally following us through powerful thought waves emanating from his/her aura, automatically invoking an interaction between their "breed" of people ( similar "saamudrika lakshanam") and ourselves. While all this is about living people, evolved souls have explained about after death phenomena such as the following:-
In one of the books by Navajata Bhaiji, a close associate and devotee of Sri Aurobindo and the Mother of Pondicherry, he states that Sri Aurobindo and the Mother have described in very great detail what happens to the soul, the psychic being and the astral personality after death. The mind continues to exist, the vital continues to exist, even after death. People may say out of ignorance that so and so would be born as a snake or a cat or a bird. Bhaiji states that it is incorrect. He says that according to what he has learnt from Mother, only a part of the personality of a person, like the lower part, may join a snake, a cat or a bird. That doesn't mean that his entire personality, including his soul have joined with that animal! He quotes Mother's examples of this phenomenon. She said that a young man She knew, died in the First World War. She was living in Paris at that time. She was sitting in a room when suddenly a cat ran to Her and pulled at Her dress. She saw in the cat's eyes the eyes of that man and could feel his presence. She immediately knew that the young man had been killed. Later She found that he had indeed died on the battlefront exactly at the time the cat had come to the Mother. So the astral body hardly took any time to travel from a battlefield in Germany right upto Paris and get in touch with the Mother. That is the speed with which the astral body can travel, it can even go through a wall and keep its personality intact.
The book has another account of the Mother's narration of an incident regarding a musician (a pianist). He had trained his hands in piano-playing over years of pracitce. After his death, his subtle hands got concretised- they got the skill- and so even after the man died, his hands, only the hands, remained in the subtle-physical. This is truly amazing that not the total personality but the hands alone could combine with the hands of another person who was trying to become a good pianist. But this second musician must be in an attitude of invoking- and this is very important- invoking some force to help him and for that moment he may play very beautifully, which normally he may be incapable of doing.
This means it is quite possible to build a connection; to build a contact with subtle-physical forces, and combine with even a part of the personality of another person who has died and thus improve one's life!

Who is the monk?

Above is a group photo taken way back in early 60s, after I rendered 2 or 3 krithis in All India Sai Samaj (Saibaba Temple, Mylapore). In the audience were a revered monk (at whose feet I am seated) and somebody called "Professor Rege" (I still remember his name). The eyes of His Holiness are deep with knowledge of the Self. I was too young to know any details about Him. I wish to know particulars about His Holiness.
(Click on photo to enlarge).

Acupressure on veena for tonal enhancement- Clarification

VEENA PLAYING FOR ACUPRESSURE-
While thanking Music Lover for raising the point if other set of melakartha ragas that contain swaras (notes) missing in each other (for eg. Chakravakam-Simhendramadhyamam, Hanumathodi-Mechakalyani, etc.) could be used, I would like to clarify that it is acceptable and possible to do so. I had mentioned Mayamalavagowla-Haimavathi specifically only because the former is traditionally used for Sarali Varisai, Janta Varisai and Alankaram. Haimavathi is the only raga that has entirely different notes (swaras) than that of Mayamalavagowla.

Acupressure on veena for tonal enhancement!

VEENA PLAYING AS ACUPRESSURE-

The brass-plated bridge (tonal enhancer)

Parts of Veena
'Naadam' (resonance) is the life of veena. A veena devoid of 'naadam' is lifeless and fails to evoke any emotion in the player as well as the listener. The tone of a veena is enhanced only when it is used. How does it happen? As we all know the bridge is the tone-determining part of the veena. It is located on the kudam-(see diagram).The process is like this:-
Veena is subject to acupressure simultaneously while the player is involved in producing music through the instrument. Acupressure is an ancient art using the fingers (or other parts of the body which is irrelevant in the case of veena)to skilfully press key points, which stimulates the body's (in this case -veena) natural abilities. When these trigger points (frets and strings) are pressed, they release muscular tension (tonal inertia) and promote blood circulation ('naadam'-resonance).
The index finger and the middle finger of the left hand press on the metal frets as they move from one swara to another. The right hand's index and middle fingers strike (pluck) the strings firmly, matching the movements of the left hand. As both the hands operate simultaneously,the strings that runs across the bridge rub tightly across the brass plate on top of the bridge (there are two bridges, the top of the bridge which is covered by a brass plate supports four main strings, holding them tightly and firmly while the side bridge, which is a curved brass plate supports the three side strings) creating a black line-like dent or mark over the brass plate while the metal frets, due to the pressure of the left hand fingers dip ever so finely into the wax-bed. Both, the line-like mark on the brass plated bridge and the frets that are being pressed and ground by the act of playing the instrument gradually bring about a deep timbre in the tonal quality of the veena. Obviously the points (swaras) wherever the frets are pressed by the left hand and plucked by the right hand fingers trigger particular zones on the brass plate resulting in tonal enhancement. If a particular krithi or raaga or the mere scale of Mayamalavagowla from open sarani to the middle shadjamam could produce tonal enhancement to a certain extent, the result would be far greater and wholesome when the veena is played or subject to acupressure from the first fret (rishabha) to the topmost shadjamam, that is, on all the 24 frets.
The two ragas, Mayamalavagowla and Haimavathi when played on three octaves (starting from the open shadjamam of the third bass string to the topmost shadjamam on the first string) in all the three speeds activate every zone on the brass-plate. The 15th melakartha raga, Mayamalavagowla and the 58th mealakartha raga, Haimavathi consist of swaras that are missing in each other, thereby encompassing the 24 frets of the veena, leaving no scope for an untouched pressure-point.

Sri Venkatachala Mahathyam (wedding chapter 137-147)

Sri Kumara Swami

137)Evamukthaha Kubeyreyna Sreenivaasaha Sathaam Gathihi!
Shanmukham Preyshayaamaasa Vahneyraahvaanakaaranaath!!

Meaning:Lord Srinivasa asked Lord Kumara Swami to summon Agnihothra (Fire God).

138)Sa Gathvaa Thvaritham Skandaha Shaasanam Gnyaapayan Hareyhe!
Sampraaptho Vaayuveygeyna Sahitho Jaathavedasaa!!

Meaning: Lord Kumara Swami set off immediately to carry out the wishes of Lord Srinivasa. Accompanied by Lord Agnihotra, Lord Kumara Swami returned in lightning speed.

139)Thathaha Provaacha Bhagavaan Thvaritham Havyavaahanam!
Sree Bhagavaan:-
Kshanaadbhrakshyaannashaakaadi Pacha Swaahaa Samanvithaha!!

Meaning:Lord Srinivasa ordered Lord Agnihothra-" I command Yourself and your wife, Swaaha Devi to prepare hot and delicious food immediately!"

140)Ithi Naaraayanavachaha Shruthvaagnisthamabhaashathaha!
Agni:-
Paakaardham Bhaajanam Krishna! Naa Sthye Kama Pi Mey Harey!!

Meaning:Lord Agnihothra said,"Krishna! How can I cook without any vessels here?!...

141)Kaaryaha Paako Mahaaraaja! Bahoonaam Bhakthavathsala!
Ithi Thasya Vachaha Shruthvaa Shaarngyinam Prathyabhaashatha!!

Meaning:O Merciful and Compassionate One to devotees! Lord Srinivasa! I have to cook for so many people and how is it possible without any vessels?!"

142)Sree Bhagavaan:-
Bhavathaam Bhavaney Thaatha! Kinchijjaathey Mahothsavey!
Bhaajanaani Mahaabhaaga Vardhanthey Vatabeejavath!!

Meaning:Lord Srinivasa said, "Agnihothra! I am sure you have as many vessels as Banyan seeds in your house which you use for festivities!

143)Mama Kalyaana Samaye Bhaanda Meykam Na Drushyathey!
Deivameyva Param Manye Sarveyshaam Sarvasaadhaney!!

Meaning:For my wedding celebrations I do not have even one vessel! Alas! Without God's grace how can anyone carry out the rituals and procedures?!

144)Upaayam Shrunu Sapthaasya Paakaardham Paajanairvinaa!
Annam Swaamisaromadhye Soopam Paapavinaashaney!!

Meaning:Agnihothra, One who is blessed with seven tastes ("jihwa")! If you do not have vessels to cook, please cook rice on the banks of Swami Pushkarini, Dhal on the banks of Papavinashanam...

145)Viyadgangaa Jaley Vahney!Paramaannam Gudaanvitham!
Deyvatheerthey Shaakamagney! Thumbutheerthey Thu Chithrakam!!

Meaning:Sweet Rice pudding made out of jaggery ('chakkera pongali') on the banks of Aakasha Ganga, Vegetables on the banks of Deva Theertham, Tamarind rice ('pulihora') on the banks of Thumburu Theertham....

146)Kumaaradhaarikaatheerthey Bhakshyaani nVividhaani Cha!
Paandutheerthey Cha Karthavyaha Thinthrineerasa Uththamaha!!

Meaning:On the banks of Kumara Theertham a variety of savouries ('pindi vantalu'), on the banks of Paandu Theertham tamarind soup (sambar and rasam)....

147)Vyanjanaanyanyatheerdheyshu Kandamoolaphalai Ssaha!
Kriyathaam Lehyapeyaani Theerdheyshvanyeshu Paavaka!!

Meaning:On the banks of the other 'theerthams' (divine lakes), dishes made out of herbal vegetables and fruits. Please organise for such dishes that can be licked and tasted with the tongue and delicious syrups and juices that are to be drunk, etc. on the banks of the rest of the divine lakes!"