The Divine Mother is the Kundalini (“coiled up” power) sleeping in us; without worshiping Her we can never know ourselves. All-merciful, all-powerful, omnipresent are attributes of Divine Mother.
She is the sum total of the energy in the Universe. Every manifestation of power in the Universe is “Mother”. She is Life, She is Intelligence, She is Love. She is in the Universe yet separate from it.
She is a person and can be seen and known (as Shri Ramakrishna saw and knew Her). Established in the idea of Mother, we can do anything. She quickly answers prayer.
There are myriad traditions of
how Kali came into existence. One version relates when the warrior goddess
Durga, having ten arms, each equipped with a weapon and who rode a lion or a
tiger in battle, fought with Mahishasura (or Mahisa), the buffalo demon. Durga became
so enraged that her anger burst from her forehead in the form of Kali.
Once born, the black goddess went
wild and consumed all the demons she came across, stringing their heads on a
chain which she wore around her neck. It seemed impossible to calm Kali’s
bloody thrashings, which now extended to any wrongdoers, and both people and
gods were at a loss what to do. Fortunately, supreme Shiva stopped Kali’s
destructive rampage by lying down in her path, and when the goddess realized
just who she was standing on, she finally calmed down. From this story is
explained Kali’s association with battlegrounds and areas where cremations are
In another version of the
goddess’ birth, Kali appeared when Parvati shed her dark skin which then became
Kali, hence one of her names is Kaushika (the Sheath), whilst Parvati is left
as Gauri (the Fair One). This story emphasizes Kali’s black aura which is
symbolic of eternal darkness and which has the potential to both destroy and to
In a third rendition, men and gods
were being terrorized by Daruka who could only be killed by a woman, and
Parvati was asked by the gods to deal with the troublesome demon. She responded
by jumping down Shiva’s throat. This was because many years previously Shiva
had swallowed halahala, the poison which had risen from the churning of the
ocean during the creation and which had threatened to pollute the world. By
combining with the poison still held in Shiva’s throat, Parvati was transformed
into Kali. Leaping from Shiva’s throat in her new guise, Kali swiftly defeated
Daruka and all was well with the world once more.
All energy is lodged in this first chakra, the house of the Shakti and there are four fundamental vrittis, or human desires associated with this chakra which are-
Dharma Artha Kama Moksha
The first chakra is not the “lowest” chakra, it is actually the seat of our spiritual longing for both liberation and Dharmic action. According to Tantra, we are meant to quench our thirst for spirituality, for dharma and for joy, these are our natural state.
“There is no fulfillment without the body. Hence obtaining the wealth of the body, engage thyself in works of merit.” –Kularnava Tantra
Certain vrittis are more psychologically challenging than the four primary ones located in the Muladhara chakra. But there are also positive ones, including hope, effort, discernment, and perhaps the most important of all, the love vritti located in the heart chakra.
The human capability for awakening spiritual knowledge is the famous para vritti located in the ajina, or eyebrow chakra.
The Tantric science of kundalini, chakras, and vrittis—and how these esoteric, inner expressions are awakened, balanced and alchemically tuned by hatha yoga and meditation is complex. But the heart of this science is reflected in both the coiled labyrinth of the earth and the coiled kundalini of the body.
Our spiritual practice, our yoga, helps us uncoil and liberate the kundalini labyrinth and thereby free us from its containment in the earth chamber of the first chakra.
“The rush of bliss that ensues upon the meeting of the Pair, the Supreme Shakti and the Self (Shiva) above, is the real Congress. All else is mere copulation.” –Kularnava Tantra
The Eastern System of Kundalini Yoga affords us a basic clue into the interior operations of Mystical Alchemy. Kundalini Yoga aims at the awakening of various centers of psychic force in the Ethereal Body. These are called Chakras or Cakkrams. Although there is literally a Chakra for every nerve in the body, there are seven in particular which are of vital importance in the Science of Kundalini Yoga. These Chakras are symbolized by seven Wheels ascending the spinal column which the Yogi endeavors to initiate into whirling motion, to awaken their subtle energies and vitalize his consciousness with their occult currents of power. This is accomplished by way of awakening the Primary Nerve Current known as the Kundalini or Serpent Power. The Serpent (Kundalini) is a phallic symbol, representing the creative force of reproduction or Sexual Energy. The Kundalini is Sexual Energy – the Libido – also called Shakti (Power) in the Sanskrit tongue. It is by this Sexual Power that the Chakras are literally transformed into veritable centers of cosmic radiation, illuminating the soul, mind and body of the Yogi with the Celestial Light of the Sun.The seven Chakras, which are also called Padmas or Lotuses, are the occult centers of psychic energy in the human body. They are not really a part of the human body, but rather correspond to certain parts of it, thus we call them occult (secret). The Chakras are secret centers which generate Prana and are a part of what is termed the Subtile or Ethereal Body. As Lotuses they exist upside downuntil the awakened Kundalini strikes upon them and makes them right side up. In this they are slain and transformed, purified and consecrated. It is an essential object of the training of the Magician in the New Order of the Golden Dawn to awaken the Kundalini, and thereby accomplish this inner work with the Chakras. Any proper system of initiation must necessarily awaken the conscious experience of these centers at some level, as they represent the true initiation of the soul. There are seven steps to this internal initiatory operation of Yoga. These seven steps correspond with certain alchemical, astrological and magical principles. The number seven is of great importance in Hermeticism. Note that there are seven letters in the words Sulphur, Mercury and Vitriol, which are names for the three alchemical Principles. There are also seven alchemical Metals which are linked with the seven traditional Planets of Astrology. And to correspond with these and other important concepts of the Septenary, there are seven Steps of Initiation in the New Order of the Golden Dawn. The symbol of the New Order of the Golden Dawn is, in fact, a Gold Cross surmounted by a White Triangle, giving us the number seven. This symbol represents the Great Work of Alchemy. Such is also the alchemical symbol for Sulphur which denotes the SECRET FIRE of Alchemy. This SECRET FIRE, which is the First Matter of the Great Work, is the Kundalini or Serpent Power of Yoga. Moreover, the Cross represents the four Grades of Zelator, Adeptus Minor, Adeptus Major and Adeptus Exemptus; and the White Triangle represents the three grades above the Abyss called Magister Templi, Magus, and Ipsissimus. In alchemical terminology the Cross represents the four so-called Aristotelian Elements called Fire, Water, Air and Earth; and the Triangle represents the three Principles of Trimaterialism called Sulphur, Salt and Mercury. The Cross further represents the four elemental Chakras of Yoga called Muladhara, Svadhistthana, Manipura, and Anahata; and the Triangle represents the three higher Chakras called Vishudhi, Ajna and Sahasrara.Muladhara is the Root Chakra, Svadhistthana is the Navel Chakra, Manipura is the Solar Plexus Chakra, Anahata is the Heart Chakra, Visuddhi is the Throat Chakra, Ajna is the Pineal Chakra, and Sahasrara is the Crown Chakra. In Alchemy these Chakras are linked with the seven Metals called Lead, Iron, Tin, Quicksilver,Copper, Silver and Gold. These Chakras are also linked with the seven traditional Planets of Astrology called Saturn, Mars, Jupiter, Mercury, Venus, Luna, and Sol. The seven Metals and seven Planets correspond with the seven Chakras as follows: Lead and Saturn correlate with the Muladhara Chakra; Iron and Mars correlate with the Svadhistthana Chakra; Tin and Jupiter correlate with the Manipura Chakra; Quicksilver and Mercury correlate with the Anahata Chakra (or alternatively the Sahasrara Chakra); Copper and Venus correlate with the Vishudhi Chakra;Silver and Luna correlate with the Ajna Chakra; and, lastly, Gold and Sol correlate with the Sahasrara Chakra (or alternatively the Anahata Chakra). Of the seven Chakras, only six are visible to the inner eye of the Yogi. Sahasrara, the so-called seventh Chakra, is an invisible and ineffable centre which cannot be classified as a Chakra per se. Yet it is with this Invisible Chakra that the Yogi or Magician seeks to integrate himself. For this so-called Chakra represents the True Self of the Yogi or Magician which, in Alchemy, is symbolized by the Stone of the Philosophers. Now there are innumerable centers of Prana in the Subtile Body called Nadis which are commonly defined as Nerves. Prana is the vital, creative energy in Nature which animates and maintains all life and it is the subtle link between the visible and the invisible. Nadis are subtle nerve channels of Prana. The word Nadi is derived from the Sanskrit root “nad”, which signifies motion. The various petals of the Chakras are Nadis. Prana moves or circulates in the Nadis, governed by the currents of the Sun and Moon. Purification of the Nadis is one of the most fundamental exercises of Yoga proper. There are three principal Nadis of Yoga. These are called Ida, Pingala, andSushumna. Of these three the latter is the most important. Sushumna starts in the lowest Chakra Muladhara (5 cm. above the anus and 5 cm. behind the penis). Within the Sushumna is another Nadi called the Vajrini which contains yet another Nadi called the Citrini. The inmost part or centre of the Citrini is called the BrahmaNadi. However, it is not really a Nadi, but a vivara, that is, a hollow passage. The opening of the Citrini initiates the process or makes open the gate through which the Kundalini can enter the Kula Marga or Royal Road to the Crown Chakra. Such is called Brahma-Dvara. The Kundalini is asleep, closing with Her mouth the entrance to the Sushumna, until She is awakened in the Muladhara Chakra. When the Kundalini (Shakti) is awakened, by way of proper initiation, She enters the Royal Way in the Sushumna and rises through it to unite in orgasmic ecstasy with Her lover Shiva who isconcealed in the Brahmarandhra (Sahasrara Chakra). In Her ascension to the Brahmarandhra She pierces with puissant passion the various petals of the Chakras which, in effect, blossom into beautiful and fragrant Lotuses of Light. And when Shakti embraces Shiva in the Sahasrara, then are all the Chakras made one in the blissful, eternal blossoming of the Supernal Lotus of infinite petals. Ida and Pingala, like Sushumna, start in the Muladhara Chakra and rise to the Ajna Chakra, but, unlike the Sushumna, they rise with an inverse, serpentine movement. Ida is to the left of the Sushumna and its nature is lunar and feminine. Pingala is to the right of the Sushumna and its nature is solar and masculine. When Ida and Pingala meet at the Ajna Chakra they enter the Sushumna, making a triple knot, and again they are separated and, ergo, annihilated. That is, they are discharged of their Prana which then rises through the Sushumna to penetrate and kindle theSahasrara Chakra, allowing for the ecstatic, orgasmic embrace of Shakti and Shiva which, as you might gather, constitutes the greatest victory in Kundalini Yoga.
Kathak is one of the major forms of Indian classical dance.
The origin of Kathak is traditionally attributed to the traveling bards of ancient northern India. The term Kathak is derived from the Vedic Sanskrit wordKatha which means “story”, and Kathaka which means “he who tells a story”, or “to do with stories”. Wandering Kathakas communicatedstories from the great epics and ancient mythology through dance, songs and music.
Kathak evolved during the Bhakti movement, particularly by incorporating the childhood and stories of Hindu god Krishna, as well as independently in the courts of north Indian kingdoms.
Kathak is found in three distinct forms, named after the cities where the Kathak dance tradition evolved – Jaipur, Banaras and Lucknow.
Stylistically, the Kathak dance form emphasizes rhythmic foot movements, and the movement harmonized to the music. The legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, stage movements, bends and turns. The main focus of the dance becomes the eyes and the foot movements.
The difference between the sub-traditions is the relative emphasis between acting versus footwork, with Lucknow style emphasizing acting and Jaipur style famed for its spectacular footwork.
Kathak as a performance art survived and thrived as an oral tradition, learnt and innovated from one generation to another verbally and through practice. It transitioned, adapted and integrated the tastes of the Mughal courts in the 16th and 17th century, was ridiculed and declined in the colonial British era, then was reborn as India gained independence and sought to rediscover its ancient roots and a sense of national identity through the arts.
Kathak has inspired simplified regional variants, such as the Bhavai – a form of rural theatre focussing on the tales of Hindu goddesses (Shakti), and one which emerged in the medieval era. Another variant that emerged from ancient Kathak is Thumri.
Over time, the Kathak repertoire added Persian and Central Asian themes, such as the whirling of Sufi dance, the costumes replaced Saris with items that bared midriff and included a transparent veil. When the colonial European officials began arriving in India, the Kathak court entertainment they witnessed was a synthesis of the ancient Indian tradition and Central Asian-Persian dance form.
Kathak was brought to the attention of audiences outside India in the early 20th century throughKalka Prasad Maharaj.
A modern Kathak, in all three major sub-traditions, consist of three main sections - the invocation (vandana), one pure dance recital (nritta) and one expressive dance (nritya).
The ensemble of musical instruments vary, ranging from two to twelve classical Indian instruments or even more.
So much fun girlie time with this one today! Come back soon @nikkanadia !!! And go give this bendy beauty a follow💛
🎶Blank and Jones, Nuits Blanches
#yoga #yogamom #yogaaddict #yogalove #sexyyoga #vegan #vinyasa #yogaflow #yogagirl #fitspo #vegan #plantbased #whatveganslooklike #flexible #yogapractice #stretch #tantra #shakti