SAḾGIITA IN ÁNANDA MÁRGA
3 Dances of ÁNANDA MÁRGA:
ÁNANDA MÁRGA teachings are a synthesis of two ancient spiritual disciplines known as “Tantra” and “Yoga” respectively.
Today there is a growing interest in practices that balance the body and mind. These three dances are a great contribution from PRECEPTOR SHRII SHRII ÁNANDAMÚRTI for improving the all-round health of all people.
The specialty of these Dances is that they directly affect the secretion of hormones from the endocrine glands thereby enabling one to control negative emotions better. They also awaken higher mental feelings normally dormant in human beings.
Another great advantage of the Dances is that they require no external equipment. They are simple to learn, easy to practice and applicable to all people from youth to elder.
The three dances have Saḿskrta names. Saḿskrta is the mother language of Indian and many Oriental languages.
The three Dances are called:
1. KAOSHIKII (pronounced: Ka-o-shee-kee) invented by SHRII SHRII ÁNANDAMÚRTI
2. TÁŃD́AVA (pronounced: Tan-da-va) invented by SADÁSHIVA
3. LALITA MÁRMIKA(pronounced: La-lee-ta Mar-mee-ka) invented by Párvatii
It is recommended to learn the Dances from a qualified ÁCÁRYA or ÁCÁRYÁ before attempting to do them on your own.
KAOŚIKII means: “dance for mental expansion”. Guru SHRII SHRII ÁNANDAMÚRTI gave it in 6th September, 1978.
It is a dance primarily for women, whereas tandava is a dance only for men. KAOŚIKII may be performed either by men or women. KAOŚIKII is a “mudraic” dance.A “mudra” is a gesture of the hands, which express a subtle idea. Indian and Oriental classical dance are based on hundreds of mudras. Click here for watching the dance.
The Steps and Movements of KAOŚIKII : Arms above the head, close to the ears, palms touching each other.
1. Bending to the right, stepping: the body bends to the right in three movements, 10 ( At the same time, the foot steps behind the heel (start with the right foot behind the left heel).
2. Back to Starting Position: in the same manner, the upper portion of the body returns to the starting position with three movements each 10( until one reaches the starting position.
3. Bending to the left, stepping: repeat the body and step movements to the left.
4. Back to Starting Position: the upper torso returns to the starting position.
5. Arms forward: continuing the rhythmic dance step, extend the arms forward, head tucked in between the arms.
6. Arms, Head Down: bend the body downward and try to touch the fingers to the floor.
7. Return to Starting Position: raise the body and arms until again they reach starting position, while maintaining the rhythmic stepping of the toe behind the heel.
8. Bend the body backward: bend the upper torso from the waist backward, two movements, with arms overhead and as close to the ears as possible.
9. Return to Starting Position: return the body in two steps back to the starting position.
10. Hit the balls of the feet against the floor, first right, and then left.
Use of Universal Mantra:
All three dances use a universal mantra to elevate the mind while the body performs the rhythmic movements of the dance.
A “mantra” is a special sound whose constant repetition frees the mind from negative thoughts. The use of a mantra converts the mental wave patterns from restlessness and worry to subtle vibrations of peace and harmony. It is a great aid for personal development.
The Rhythm of Mantra is used : “BA´BA´ NA´M KEVALAM“.
The Rhythm of the Mantra is in ”Saḿskrta” language. The specialty of the “Saḿskrta” language is that its sound vibrates subtle energy centers called cakras/plexii in latin inside the body that contribute to physical balance and mental peace.
The “BA´BA´ NA´M KEVALAM” mantra is universal; all people anywhere can use it, irregardless of religion, nation or race.
It has several meanings all of them equally applicable such as: BA´BA´ NA´M KEVALAM” means “I am taking the name of that Singular Noumenal Entity” – Evening Darshan, May 18th, 1979, Eckenrath, GERMANY.
Ba´ba´ means “nearest and dearest one”. Na´m means “Name” & “Kevalam” means Only”
” Ba´ba´ Na´m Kevalam ” means ” Only the name of nearest and dearest One “ - 12 May 1979 DMC, Fiesch, Switzerland.
KAOŚIKII and the Use of Mantra:
The rhythmic steps of KAOŚIKII are accompanied by the verbal incantation of the BA´BA´ NA´M KEVALAM mantra. The below sketch correlates the dance step with the mantra: “Ba´ba´ Na´m Kevalam”.
Meaning of the Mudra in KAOŚIKII:
Each movement of the arms in KAOŚIKII conveys a specific meaning, that is why it is considered a mudraic dance.
1. The two hands when upraised and folded together represent: “Now I am trying to establish a link with the Supreme”
2. Both hands bending to the right indicate: “I know the right way to request you”.
3. The leftward movement represents:” I know how to fulfill your demands”.
4. The movement of bending in front suggests complete surrender.
5. The backward bending represents:” I am ready to face all troubles that may come”.
6. The last two stamping of the feet represents, ” O Supreme, I repeat your rhythm”.
22 Benefits of KAOŚIKII if you need please contact near by Local Acaryas or Unit Secretaries from your socio economic units:
KAOŚIKII when done regularly is an antidote to twenty-two types of diseases. It is especially helpful for small diseases like liver trouble. It is a panacea for almost all female diseases and for many male diseases in young boys.
How Long Should One Perform KAOŚIKII?
KAOŚIKII should be practiced for as long as possible. There is no restriction of time, rather the longer the better. However like all exercise, it is advised to gradually increase the practice so as not to overexert oneself. For example, one may set a target of one minute for the first month. Thereafter according to one’s time availability one may increase the duration of KAOŚIKII by one minute each month up to say, 15 minutes (by the 15th month).
TÁŃDAVA means “a jumping dance”. It is a vigorous jumping dance performed by men. Women may not perform Tandava due to physiological constraints.
TÁŃDAVA was invented by the first GURU of human society, SADÁSHIVA(or Shiva for short). Shiva lived over 7000 years ago in India.
In ancient times, to uplift human potentialities like moral courage and over come fissiparous tendencies like fearlessness to HIS disciples, Shiva might have invented the TÁŃDAVA dance and also it is the Best Dance in Musical World. There are numerous photos of SADÁSHIVA that depict HIS performance of TÁŃDAVA Dance .
Major Benefits of TÁŃDAVA:
* Imparts tremendous bravery and will power.
* Improves capacity for deep thinking.
* Removes doubt and indecisiveness from the mind.
* Conquers defeatist complex.
* Overcomes fear complex.
* Endows one with a fighting spirit.
* Conquers laziness and sloth.
* Imparts youthfulness and vigor.
* Exercises the brain and nerve cells. Improves memory.
* Makes the mind one-pointed and concentrated.
* Strengthens the heart.
* Improves circulation and respiration.
* Paves the way for physical development, mental elevation and spiritual progress.
* Improves secretion of male hormone (testosterone) from the testes gland that enhances male characteristics such as body hair, voice tenor, skeletal bones and muscles.
The Science Behind TÁŃDAVA:
TÁŃDAVA is a jumping dance that requires the practitioner to remain off the ground for a fairly long period of time. As long as a dancer remains above the ground he derives much benefit; when he touches the ground those benefits are assimilated by the body.
TÁŃDAVA is performed according to a certain rhythm and system. If done collectively one person becomes the “caller” and the dancers jump according to the cadence set by the “caller”. Done individually one may set one’s own rhythm and speed.
1. Starting: Caller says to take “IDEATION” (to learnt from qualified ÁCÁRYA), and then extends the arms outward and sideways from the body, fists clenched. Rise up on the toes, eyes looking ahead.
2. 1-2-3- Jump: the dancer jumps up on “jump” and tries to kick his knees against the chest and remains in a crouched position.
3. Ta-Ta-Dhin-Ta: on the sound of “Dhin” the dancer again jumps up and tries to kick his knees against his chest landing upright as in the starting position.
4. Ta-Ta Dhin-Ta: on the call of “dhin” the dancer jumps up, kicking his right leg to the left side, foot cocked at an angle, raising the knee as high as possible. On “ta” the dancer again jumps on the balls of the feet.
5. Ta-Ta-Dhin-Ta: is repeated three times as the dancer begins the rhythmic stepping of the dance. Initially the calling sequences are slow as the dancers “warm up” to the gradually increasing tempo of the dance.
6. BA´BA´ NA´M KEVALAM: by this time the dancer is in full jumping form: arms straight, jumping twice on either foot before switching to the other. This is the main portion of the dance.
7. Dancers Halt: the dancers stop the dance and assume the starting position.
8. Final Position: the dancers jump for the third time hitting the knees against the chest and finishing in an upright position.
Key Features of the Dance Step:
* Arms should be stretched sideways and straight as possible throughout.
* Kick the knees as high as possible.
* Kick the foot as far as possible to the left, then the right, etc.
* Jump two times on either foot.
* Dance on the balls of the feet.
* Don’t turn the waist of upper torso as you dance.
The Symbolism of TÁŃD́AVA:
TÁŃD́AVA is a symbolic dance. It represents the constant struggle that we face in life against the forces of negativity, inertia and darkness. TÁŃD́AVA represents our constant effort to defeat the negative tendencies and thereby develop a positive mind and fighting spirit.
This eternal struggle is symbolized by the apparatus used by the dancer. In the left hand is held the symbol of death, i.e. skull, snake or fire. In the right hand a knife is held which represents the fighting spirit necessary to overcome darkness and stagnancy and achieve the goal of spiritual realization. Hence the inner spirit of the TÁŃD́AVA dance is that with a fighting spirit (knife) I defeat the negative forces (skull) to achieve the Supreme goal.
If one does not actually use these props, one may imagine holding them while performing the dance.
As TÁŃD́AVA is a vigorous jumping dance it is recommended to wear a special type of underwear called the “lungota” The lungota is similar to an athletic support that sportsmen use, except that the lungota is made out of a cotton cloth.
The lungota protects the male organ from movement and possible injury during the practice of TÁŃD́AVA as well as yoga exercises .
It can be easily made from a one metre piece of cotton cloth.
It is easier to perform TÁŃD́AVA wearing short pants or the lungota.
It is recommended to have two lungotas so that one may put on a clean lungota every day after bath.
The Three Types of TÁŃD́AVA:
TÁŃD́AVA may be classified into three types according to the degree of difficulty.
1. Brahma TÁŃD́AVA: when the knee crosses the waist.
2. Vishnu TÁŃD́AVA: when the knee reaches to the mid-point of the chest.
3. Rudra TÁŃD́AVA: when the knee reaches to the lump in the throat. It is very difficult to perform Rudra TÁŃD́AVA. It requires long practice to achieve it.
The third dance in the trilogy is called LALITA MÁRMIKA. It was invented by Párvatii, the spouse of Sadashiva. Like Tandava it is 7000 years old.
But LALITA MÁRMIKA is totally different from the other two dances. It is purely a devotional dance. Its gentle swaying movements produce soft, sweet feelings in the mind. It helps very much in expanding the mind and freeing it from all negative feelings such as depression, hopelessness, pride, stress and worry. The dance of LALITA MÁRMIKA expresses happiness, joy and surrender. It is the best aid for spiritual meditation.
The Dance Step:
In LALITA MÁRMIKA the arms are raised 90( from the shoulders, palms turned upwards. The stepping is a gentle swaying motion from side to side. The right big toe is placed behind the left heel as the left knee is slightly bent forward. Repeat the motion on the other side.
As in the other two dances, the Lalita Marmika is accompanied by the universal mantra, BA´BA´ NA´M KEVALAM.
The combination of LALITA MÁRMIKA with the chanting of BA´BA´ NA´M KEVALAM is called, “Kiirtan”. Kiirtan means, “to sing and hear the name of the Supreme”. It is recommended to perform LALITA MÁRMIKA for at least ten minutes before meditation.
Benefits of LALITA MÁRMIKA:
* Loosens the joints of the knees and ankles preparing one for meditation posture.
* Excellent panacea for heart trouble, hypertension and high blood pressure.
* Stimulates the pineal gland to awaken higher consciousness.
* Arouses latent feelings of devotion and love for all the Creation.
* Induces feelings of surrender to the Supreme Will.
* Produces soft feelings of compassion, tenderness and kindness in the mind.
* Awakens all higher and subtler mental faculties.
* Prepares the mind for deep, concentrated meditation.
* Removes negative vibrations in the local environment.
The Different Types of Kiirtan:
There are several other types of Kiirtan that can be done along with the LALITA MÁRMIKA dance. They can be done according to the circumstances.
1. Akhanda Kiirtan: is a Kiirtan performed for a minimum of three hours. It is performed on special occasions but it may be done at any time. Akhanda means “endless”, hence this Kiirtan is a long dance that must be done in any multiple of three: 3 hours, 6 hours, 9 hours, etc. It is of course easier to do Akhanda Kiirtan when there are many people divided into different groups. It is not uncommon to hold a 24 hour Kiirtan on some special event.
2. Avarta Kiirtan: is Kiirtan that is done facing 6 different directions. Each time that we change direction we change the melody of the Kiirtan. The 6 directions are: North, East, South, West, Up, Down. By singing Kiirtan in 6 directions we vibrate all the directions with the blissful sound of BA´BA´ NA´M KEVALAM.
3. Nagar Kiirtan: Nagar means “city”. This is a public display of Kiirtan performed through the streets of a city or town. Again this is done on rare occasions either to introduce the idea of Kiirtan to the public or to celebrate some special occasion.
The art of spiritual practice is to transform each of our ordinary actions into a spiritually elevating one. As dancing and singing are basic activities of human life, they are converted into spiritually elevating activities in the science of ÁNANDA MÁRGA YOGA practice.
Give these practices your sincerest effort for one month. You will feel a tremendous change in your physical, mental and spiritual well-being as a result, as have thousands of others before you. The dances round out and complement the basic practices of ÁNANDA MÁRGA YOGA namely the yogic exercises and the yogic meditation. There are no better and simpler practices that will help you to achieve the goal of all-round health and happiness as these three dances.