SALUTING OUR HEROES- AN INDEPENDENCE DAY SPECIAL! (VEENA UNPLUGGED)

With all my heart for the brave hearts and real heroes of India. ("Kar Chale Hum Fida...from the film Haqeeqat. This gem is composed by Madanmohan and soulfully sung by Mohammed Rafi.)

Courtesy-YouTube channel-Jasmine Strings

KAZHUGUMALAI MURUGAN TEMPLE

In mid 70s, performing during Skanda Sashti festival in Sri Subramanya temple, KAZHUGUMALAI. The simple-hearted devotees surrounding the stage created an instant rapport between us. Mridangam-Sri.V.R.Lakshminarayanan.

SARASWATI VEENA-18

                                          Goddess Durga

A couple of decades ago.
"Please, please..... I have to see him...at least one time, then I'll go away.."
The young lady in her early 20s pleaded, tears streaming down her cheeks, unmindful of people staring at her openly. 
After years of observing and absorbing facts, today, as I look back I am able to see that the young lady was clearly under the grip of "Vashikaran" (spell to bring someone under control) done to her.
In more than 5 decades of performing in many places of worship, I have observed various practices and methods. I have gained considerable information and am quick to gauge the nature of rituals.Whatever I am saying here is a mere gist and the briefest of brief essay.
Enough has been said about tantra on internet without myself having to go through the subject in an elaborate fashion. The need of the hour is for everybody to be alert in identifying the correct Guru for spiritual guidance. 
A tantrik who can cause people both benefit and harm is best avoided. Our own prayers are stronger than anybody else’s on behalf of ourselves. 
Generally females born in auspicious months, on auspicious thithis and nakshatras are targeted to be brought under a tantrik 's control for his benefit or on behalf of others for their benefits. 
 The 'shakthi' energy is drawn out of the female and the tantrik attains immense benefits of power by taking in the ‘Shakthi’ energy. It is possible for a tantrik to derive a female's energy even without physically uniting with her.
The subtle (sookshma) energy of the female is drawn through mediums such as personal articles used by the subject. 
In the case of musicians, especially practitioners of divine instruments like the original Saraswati Veena, 'Vashikaran' (casting spell) is aimed at male/female Veena practitioners whose Sushumna nadi is vibrant. 
In few instances talisman (thin and minute-sized metal sheet yantras engraved with tantrik mantras) are embedded in the wood, especially in the kudam area. Generally new Veenas are made for such intended purposes. Inauspicious places, timings (malefic horas or planetary conjunctions) and thithis like Ashtami/Navami are chosen to make such Veenas. 
The pranic energy which is drawn from the Veena made out of seasoned Jackwood which connects and transmits the breath patterns of the Veena practitioner is sponged off by the tantrik via the embedded talisman in the Veena. 
The above is not applicable to detachable 'Veenas' which are broken in places for travel purposes. Detachable Veenas are not contained and therefore do not have the ability to retain or promote any type of energy- good or bad. Small sized Veenas (used for gimmicks) that are disproportionate to practitioner’s spinal column and with weird and bizarre shaped ‘kudams’ (other than the original huge and round shaped. ‘Kudams’) are non-energy bearers and therefore fail to retain or promote any kind of energy-good or bad.
When a practitioner unknowingly practices on a tantrik Veena (which has a talisman embedded in it) his/her energy is gradually drained and the practitioner loses strength and lustre (ojas and tejas). At some point the practitioner can also fall seriously sick, as all the energy is transmitted to the tantrik. The victim under "Vashikaranam" spell is obsessed with the person under whose spell he/she is brought under and feels a desperate urge to be with them 24/7. 
How to identify a victim of "Vashikaran"? A person who is under a spell is usually nervous, desperate and devoid of pranic energy (tejas). He/she looks pale, loses sleep and appetite. 
A person who is on the right path of spirituality and has immunized himself/herself against black magic attacks through disciplined prayers and unwavering belief in oneself (Atma Guru) glows with 'sattvik' tejas and the beauty of wisdom.
Prayers and worship of Goddess Durga (Anagram-Guard) apart from bestowing strength to the arms/hands/fingers of Veena players protects and shields them from negative attacks. 
P.S;-Utmost caution is needed before accepting vibhuthi/kumkum/any eatables in the name of prasadam/ precious and semi-precious gemstones (energy bearers) from anyone other than from temples and one's own trusted spiritual Guru.

SARASWATI VEENA-17

VEENA KUDAM (REPRESENTING HUMAN BEING'S 'SHIRASSU'- HEAD IN VEDAS AND UPANISHADS)

BLASPHEMOUS ACT-
It is blasphemy and sacrilege to break (dismantle) the Veena 'kudam' (into 2 halves or in any manner) which is the right end (of the player's side) of the Veena and which is placed on the floor. The Veena 'kudam' represents the 'shirassu' (head) of a human being of 'poorna ayush' according to the Vedas and Upanishads. 
It is painful to see such ant-vedic acts hailed for their travel friendliness. 

VEENA UNPLUGGED-TRIBUTE TO CORONA WARRIORS

                                           HEAL THE WORLD-MICHAEL JACKSON

GANAANAAMTVA, DURGA SUKTHAM

        Posted in my YouTube channel- VeenaaGayathri Official

PAADA DARSHANAM...PAAPA VIMOCHANAM......

   MAHAPERIYAVA 

 Early 90s, Kanchi Mutt-I looked around bewildered, as devotees ran past me whispering, "seekkaram, seekkaram"...(hurry, hurry....in Tamil). The person from Kanchi mutt office (forgot his name) rushed towards my mother and myself. My mother asked him anxiously, 

" What's happening?"

"Periyava (Mahaperiyava) is giving Darshan right now in His palanquin. Everybody is rushing there, I'll find a place for you to sit, please meet me there." He rushed off without waiting for our response.
My heart skipped a beat. My mother and I hurried towards Mahaperiyava's palanquin (placed on the way to Mahaperiyava's present Adhishtaanam/Brindavanam).
By the time we reached the palanquin the place was jam packed with devotees, many of the ladies were in madisaar and gents in dhothi/angavasthram. 
My mother and I somehow found ourselves standing right in front of the palanquin, at a reasonably close distance. In front of us many devotees were seated on the floor. My mother and myself happened to be in the first row of devotees who were standing.
The palanquin was shut and devotees were waiting with bated breath for the palanquin to open. The pin-drop silence despite the large gathering was overwhelming. The heavy under currents of intense devotion bordering on fascination was almost palpable. I felt goosebumps all over my body. The entire atmosphere was so charged, and the synergy so high that there was a surreal quality to the moment.
 I realized that I was sensing absolute divinity even before the doors of the palanquin were opened and Mahaperiyava showed Himself. His powerful vibrations seemed to reach out to touch each and everybody around the palanquin.
"That man is calling you" the person next to me said, pointing to someone.
Feeling strangely disoriented I looked in the direction he was pointing to.
The Kanchi mutt administrative staff who told us he would be arranging for my mother and myself to be seated was gesturing to me wildly from a corner of the palanquin. He was asking us to come to where he was standing. 
I looked at my mother, "Amma you go if you want, I want to see Paramacharya from here."
My mother, her gaze never leaving the palanquin shook her head negatively indicating that she wanted to remain in the same place.
Looking at the Mutt person, I smiled politely and gestured that we wanted to remain standing in the same place.
Suddenly the silence was shattered by a loud chorus of gasps from the huge number of devotees who were gathered there.
I turned my head to look at the palanquin. The doors (or was it a cloth screen....? I don't remember..) were opened by vedic pundits.

 Inside sat huddled against the back frame of the palanquin, a frail and delicate figure in saffron robes. The morning sun's rays matching the colour of Mahaperiyava's robes  rushed into the palanquin, to cast a golden hue inside the palanquin...In the golden light, the pale, fair and wrinkled skin of Mahaperiyava shone like molten gold and His eyes were sharp and brilliant like precious gems. I was struck by the contrast between His frail, delicate structure and the power of wisdom that emanated from His eyes. 

"Amma!! Kamakshiii... Thaaye!! Ammaaaa......." cries and excited gasps of devotees filled the atmosphere. A few started to cry loudly. A woman cried out loudly, her voice quivering, "Kamakshi, Thaaye, Ambikaye, Ammaaaa....!!" Few men and women were chanting Hara Hara Shankara Jaya Jaya Shankara in low, emotionally charged voices.

All around me people were  whispering and gasping their prayers fervently... yet there seemed to be a stillness to every passing moment. Time seemed to stand still. Somehow Lord Krishna's "Kaalosmi (I am Time)" flashed across my mind.  When Time stood still God came to the fore!! I understood that the omnipresence of God could be felt by each one of us who were gathered there!                        
Mahaperiyava was moving His head slowly from side to side, His calm and serene gaze taking in the crowd which was gathered  around Him. In between He weakly raised His hand and some times both hands in gestures of blessing. Whenever Mahaperiyava lifted His hands the cries of devotees grew louder, their cries rose and fell in accordance to the smallest movement of Mahaperiyava, like an orchestra of musicians performing to the signalling hands of a music conductor!! I was afraid to even blink my eyes for a moment as I didn't want to lose the treasured sight of Mahaperiyava. I was drinking in every detail of the Darshan and realized that my two eyes or any amount of time will not give me the satisfaction of actually registering His awesome Presence.
At one point Mahaperiyava shifted uncomfortably and stretched His legs exposing the soles of His feet to the gathering.
At the sight of His feet devotees started to wail loudly,"Paada Darshanam Paapa Vimochanam...!!!!!" Many devotees started to strike their own cheeks in devotional fervour.
"Amma...Kamakshi...Paada Darshanam Paapa Vimochanam....Thaaye...!!" I realised that my cheeks were wet with tears, I was shocked that I was crying without my knowledge.
A saffron-robed devotee seated in front of me (I noticed this devotee in saffron robes from the moment I stood there. He exuded a powerfully divine aura and seemed like a very advanced practitioner of the spiritual path) suddenly got up from his sitting position to stand up. A vedic brahmin went upto Mahaperiyava and pointed to the saffron robed devotee.Bending down reverently he whispered something in Mahaperiyava's ears. Mahaperiyava focused His gaze on the saffron-robed devotee standing right in front of me and lifted both His hands as a blessing. Standing right behind the saffron-robed devotee and yet visible to Mahaperiyava's gaze, I felt convinced that His blessing Hands were also directed towards myself and my mother....On this day of Guru Poornima....

SARASWATI VEENA - 16

                                                         GODDESS SARASWATI

Resonance of original acoustic Saraswati Veena comes from pure Jackwood, the grains of which absorb the prana shakthi (life-force energy) transmitted by the player.
Electric 'Veena' used by magnetic mike depends on mike system for its sound (due to the magnetic mike's inablity and incompetence in picking up Jackwood which absorbs the life-force energy of the player)  and that too only in terms of volume while failing to convey the true tone of Veena.
Smaller size electric Veenas are used (the veena dandi is so small that the frets are narrowed down offering  scope for super-fast left hand movements) for gimmickry. The player exploits the abnormalities provided by the smaller size Veena in playing crazy speeds very easily (which is restricted on the normal sized Saraswathi Veena). 

In the absence of integrity in clearly distinguishing between acoustic and electric Veenas ( like in the case of electric and acoustic guitars), today,it has become the responsibilty of a Veena lover to distinguish between an acoustic and electric Veena. An electric 'Veena' player uses the abnormal facilties provided by an electric 'Veena' to his/her advantage for example by a)producing sound through left hand alone and without plucking with right hand or b) rendering incredibly speed/fast/jump notes on a small sized electric Veena. Such perks are offered by the electric 'Veena' and often misinterpreted as player's expertise in instrumental technique.
Similarly an acoustic Veena's lack of artificial smoothness like that of an electric Veena  apart from certain natural  imperfections like external noises and hand movements (fret noises) are purely instrumental features and not to be considered as flaws in the rendition of the acoustic Veena player.

The above artifacts belong to the period of Mahabharatha. Likewise the original Saraswathi Veena is from the ancient era and vedic times. They are meant to look and sound rustic. They are not processed.
In simplified terms it's pulihara/puliyodarai versus pizza.
(About tantriks to be continued in Saraswati Veena-18)

VEENA UNPLUGGED

SHE'S NOT THERE BY SANATANA- 

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VEENA UNPLUGGED

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SARASWATI VEENA -15

GODDESS MEENAKSHI

"She looks so cute, my God.... too cute!!" 

I looked around, confused, "Who?!" 
"Meenakshi Amman!!" There was a look of sheer awe, joy and fascination on his face.
"You mean Goddess Meenakshi?!" I asked him in bewilderment.
"Ya!!" he nodded vigorously.
I quickly glanced at the poojari (of a famous temple near Chennai) standing next to me. The poojari nodded in agreement. It was the poojari who introduced me to the tantrik before the conversation started. 
"Cute?!" I felt a twinge of resentment at the word "cute" in describing the Goddess. Before I could react the tantrik threw another shocker, "Kamakshi is not like that, She's ferocious, like Kali! But Meenakshi... oh God....She's damn cute!!" He exclaimed in joy, recalling the vision. 
While I was struggling to digest his choice of vocabulary in describing the Goddess the tantrik diverted my attention, "You people see the main idol (moola vigraham) in temples whereas we tantriks feast our eyes on the actual core form which is subtle and a few inches in front of the main idol."
My eyes grew wide in wonderment, "You actually see the Goddess?!"
"Not in the big form but in a miniature form, full of light and life, pulsating and moving, in colours, in light..."
I once again glanced at the poojari who quickly nodded in agreement. 
"Wow!!" I whispered, the sense of wonder I felt was overwhelming.
I couldn't believe that this less than ordinary looking man was a tantrik in the first place and that he had the ability to see the Goddess in Her sookshma (subtle) form.
The poojari interrupted, "He can also scan everybody's auras and he is an expert in measuring the ascension of kundalini in any person". 
"Wow" this time the tantrik got my full attention.
Looking grim all of a sudden the tantrik said, "People need to be aware of their spiritual potential and be wary of their energies, the kundalini energy can be stolen, you know?"
My brows knit in consternation, "Stolen?! How??"
The Poojari told me with a smile, "There's a lot about this subject, please come home for some coffee, we will discuss."
A TANTRIK IS SOMEBODY WHO'S WELL-VERSED IN RELIGIOUS TEXTS, RITUALS AND PRACTICES. IT'S A VERY POSITIVE THING. LIKE EVERYTHING ELSE IN THIS WORLD, EVEN TANTRA HAS A FLIPSIDE TO IT. THERE ARE PRACTITIONERS WHO USE TANTRA FOR NEGATIVE PURPOSES AND DON'T BAT AN EYELID IN CAUSING HARM TO A HUMAN BEING IF/WHEN NECESSARY IN ORDER TO ACHIEVE THEIR DESIRED TARGET. THESE PRACTICES ARE COMMERCIAL TOO AND RITUALS ARE CHARGEABLE AND CONDUCTED ON BEHALF OF SOMEONE ELSE FOR A COST. 
SPECIFIC YANTRAS, MANTRAS, BEEJAKSHARAS AND ARTICLES ARE USED IN THESE PRACTICES. IN THE WESTERN WORLD SUCH PRACTICES EXIST AND ARE KNOWN AS 'BLACK MAGIC'. 'VOODOO', 'SPELL' ETC.  THE OUIJA BOARD WHICH IS USED IN CONTACTING SPIRITS CAN BE INCLUDED IN THE CATEGORY OF NOT-SO-RELIGIOUS PRACTICES. 
IN INDIA THERE ARE DIFFERENT TYPES OF TANTRIKS. A TANTRIK CAN LOOK LIKE YOUR GUY NEXT DOOR, A GOVERNMENT EMPLOYEE, A BANK CLERK DRESSED IN PANTS AND SHIRT. THEY ARE NOT LIKE THE ONES SHOWN IN THE MOVIES, SPORTING A LONG BEARD, A THICK MOUSTACHE, FIERCELY GLOWING RED EYES, DRAMATIC LOOKS OR A GUTTURAL TONE TO MATCH. HE COULD BE A PEDESTRIAN WALKING PAST YOU ON THE ROAD, THE EYES ARE GENERALLY KEEN, OBSERVANT AND INTELLIGENT.