Editorial

In the Autumn of 1996, Swami Janakananda held a workshop on pratyahara in Bihar Yoga Bharati in India. The students who took part in the workshop were asked to write a 200 word essay on: Pratyahara in relation to meditation. Instead of us writing the editorial, this time we will let one of these essays become the editorial. It has been written by a young woman from Australia; Swami Jayatma Saraswati: Well, pratyahara to me is very much like that experience. I sit here and feel the breeze and hear the sounds and smell the scents and all of a sudden, somewhere within that, there dawns the experience of experiencing and the realisation that I am separate from that experience and that I can sit back and watch it and still exist. And each time it happens, that realisation that “I exist” somehow still shocks me. It's like it gives my consciousness a little jolt and I “wake up” for a little while at least. And it seems, for me anyway, that this experience is fundamental to meditation and any fancy words further along the path like samadhi, self realisation etc. - because how can any of this happen if I am not even aware of my own existence. It's very easy in everyday life and even in so-called spiritual life to get caught up in the experience so much so you don't even realise you’re experiencing it. You sit for meditation, hear the sounds, feel the sensations, watch the thoughts - and where are you really? Just lost in the experiences even if you're managing to stay in observer mode - unless you, at the same time, in amongst those experiences, can maintain the awareness of that experiencer. And that seems to me to be the real purpose of pratyahara in meditation or anywhere else for that matter. Om, Om, Om.

How to find the experiencer in amongst the experiences.
I live in an ashram, and have done so for the past five years and for some strange reason which is totally beyond me, this seems to make some people think I'm qualified to talk about yoga. So every now and again some tough cookie comes up and asks me a real sticky question like: “What the bloody hell is meditation all about anyway?” (They say words like bloody and hell in Australia). And suddenly I find myself at a loss; they may as well ask what is the meaning of life, the universe and everything, answer in 200 words or less please. It is only recently (just this afternoon actually) that I've begun to have some understanding of the relationship between pratyahara and meditation and

how these two relate to life, the universe and everything or at least to spiritual awakening. And even though my teachers here have told me over and over about Patanjali and fancy things like that pratyahara is the withdrawal of the mind from the senses and dhyana is an unbroken stream of consciousness like water flowing in a river, it really didn't mean much to me. Many years ago, I woke up one morning and all of a sudden I was aware that I existed; it was quite a shock to me and a bit scary. How did I get by for such a long time without realising I existed? My life took on a totally different dimension and I began to search for some understanding of who and what was this thing that I called me and what on earth was I doing in existence.

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Contents

About Sound and Form
In the Yoga tradition there are certain mantras (sound syllables) and yantras (forms to meditate on) which belong together. The form which belongs to the mantra Om is said to be Sri Yantra, and vice versa. Is this relationship between form and sound a purely subjective experience one that certain people claim to have seen within? Or can it be measured? Dr. Hans Jenny spent his life investigating the connection between sounds and forms (see page 6). He was one of the world’s foremost researchers in the field and the founder of the science of Cymatics. In his Wave Phenomena Research Institute in Switzerland, around 1970, he constructed what is called a tonoscope - an apparatus which converts sounds into forms. He wrote several books on Cymatics and documented through films and photos the influence of sounds on various materials. According to our sources, a person who could pronounce the mantra “Om” correctly, was asked to sing it into the tonoscope’s microphone. At first a circle was generated on the membrane of the tonoscope, then various triangles formed themselves inside the circle, and when the “m” faded out, Sri Yantra was completed. Another mantra created concentric circles. q

Bhramari - the Bumble Bee

A breathing exercise, which is part of the education of Indian musicians, to train their sense of pitch and musicality. But it can also be used for other purposes ...

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Vibrations create Forms

Is there a connection between life’s forms, the universe’s forms - and vibrations? Is it sound which keeps things going?

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Nada Yoga

When you do yoga and breathing exercises your mind becomes relaxed. At a certain stage it becomes so finely tuned that you can hear the vibrational frequency on the planes of consciousness which you open yourself to.

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Håå Course Center

A dynamic workshop where you can learn more about yourself, your creativity and your well-being. This year’s course programme. Different people’s diverse experiences with Nada Yoga ...

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On a Wavelength with Oneself 24 Evenings with Song and Dance 26
Song and dance can bring us together and break the ice, but it can also raise our consciousness and open our hearts.

Music CD Review Yoga at Home

From our shop we send all over the world: books, deep relaxation tapes/CDs, nose cleansing pots, ear candles, yoga mattresses, the magazine Bindu...

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Bhramari - the Bumble Bee

by Joachim Rodenbeck
the pose. Release the contractions, raise the head, relax the shoulders and sit upright. Close the ears by closing the small flaps of the ears with the index or middle finger. The elbows are held out to the side so that the chest is open. Then the exhalation takes place through the nose, while the mouth is closed (but the jaw is held so relaxed that the teeth don’t touch each other). A smooth, deep and relatively strong humming sound, like that of a bumble bee, is produced during the exhalation. Become one with the sound vibrations and let them fill your whole head, maybe even the whole body. After the exhalation let the hands rest on the knees and breathe normally. Repeat this nine times. Afterwards, sit still with closed eyes.

In this article we present Bhramari Pranayama. The name is derived from the word for the black Indian bumble bee, Bhramari; it describes the characteristic humming sound which is produced while exhaling in this breathing exercise.

The adjective bhramarin can also mean “sweet as honey” in Sanskrit or “that which produces ecstasy”. Bhramari has an immediate relaxing effect on the brain. If it is practised some minutes every day it can reduce mental tension and lower high blood pressure.

Practice
Here we will describe two variations of Bhramari. First the Indian, which is most well known: Sit in a meditation pose with a straight back. Place the hands on the knees and close the eyes. Inhale deeply through the nose and hold the breath. Lean a little forward so you are supported by straight arms, placing the weight on the knees (see the picture). Now bend the head so the chin touches the chest (chin lock). Pull up the pelvic floor, that is the sexual organs, the perineum and the anal muscles together (root lock). Hold the breath a while in

The chin lock (Jalandhara Bhanda) and the root lock (Moola Bandha) are also used with a number of other breathing exercises to strengthen the practice. They stimulate the finer energy flows (nadi) and influence simultaneously the blood pressure, the heartbeat and the blood supply in certain parts of the brain as well as maintaining a relaxed state in the brain. Another variation of Bhramari comes from Tibet. Warm the palms of the hands by rubbing them briskly together. As you breathe in let the warm palms glide up over the face, from the neck, over the cheeks and the forehead and up to the crown. The elbows now point out to the sides. On the exhalation make the same deep sound as has been described above while the hands move down to

“With regular practice of this pranayama (Bhramari) bliss arises in the yogi’s heart”.
(Hatha Yoga Pradipika)

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cover the ears, which are first covered by the root of the hands, then by the palms and finally by the middle fingers - and on down over the neck until the palms meet in front of the chest. Do this nine times. Afterwards sit still with closed eyes. (Generally take it easy for 20 minutes after breathing exercises.)

A more Harmonious Pregnancy with Bhramari
On the exhalation the brain is influenced by the vibrations of the humming sound. According to the Indian doctor, Dr. Singh, the vibrations influence different parts of the brain (e.g. the reticular formation) which eliminates anxiety and promotes a calm state of mind. In the same way the hypothalamus and the pituitary gland are stimulated, according to Dr Singh. They are situated in the middle of the brain and are responsible for the control of the autonomous

nervous system and the hormone system in the human body. Or put in another way, through this practice you can find the door to the whole body’s wellbeing. Bhramari provided the basis for a clinical research project which was carried out in '93 by Monghyr Hospital, India, in co-operation with Bihar School of Yoga. Dr. Singh examined 448 pregnant women over one year. All had the same treatment (medical check-ups, dietary advice, pre-birth instruction etc.) - with one exception: 112 of the women practised Bhramari 1- 2 times a day for 5 to 10 minutes during the whole pregnancy and continued to do so for the first phase of the actual birth. The report produced the following results for “the bhramari group”. ü normal blood pressure for all, compared to 25% with high blood pressure in the control group (high blood pressure is a “normal” occurrence during pregnancy).

ü a lower number of spontaneous abortions (2 % compared to 8%). ü fewer premature births (2.6% compared to 5%). ü on average about a 25% shorter labour. ü generally little pain during labour ü only one case (1%) of Caesarean section compared to 4% in the control group. ü none of the new born suffered from lack of oxygen (0 % against 12%). ü clearly a greater average weight for the new borns (3325 g compared to 2850 g). These results show that, during pregnancy, there was less worry and stress as a result of the regular practice of Bhramari. The women’s hormone balance was better regulated, which promoted the birth of healthy children.

Musicality and Nada Yoga
“If one works in a concentrated way with music over a long period of time and need to "relax the ears", then Bhramari is a good practice,” says Adam Chr. Moltke, a saxophone player. Through Bhramari, you become sensitive to finer vibrations. It is therefore a valuable tool for musicians to develop their ear for music and musicality. Bhramari is part of the classical teaching of music in India. If you want to get into Nada Yoga and experience the inner sounds (see the article on page 8), then a regular practice of Bhramari is important. After the practice, remain sitting still with closed eyes in one of the poses described in the Nada Yoga text and listen to the inner sounds.q

Pranayama
Yogic breathing exercises (pranayama) are often described as a key to concentration and creativity. There is nothing surprising in that. Hardly any other therapeutic system, if you can call pranayama that, has such an immediate influence on the nervous system and therefore also on the mind. And the name indicates this; prana means energy in Sanskrit and yama to control, to be conscious of. Through regular practice of breathing exercises the finer psychic energy (prana) is awakened. In a harmonious way, blockages are released. When the energy flows unhindered, you can let go of the limiting states of restlessness, lack of energy or confusion. Pranayama is a powerful tool to help the mind rest as well as being a good preparation for meditation. Over the last few decades medical science has done a lot of research on the effects of pranayama. The interest is world-wide and there are approximately 40 studies published, research for which took place in Turkey, India, Germany and the USA. Results to date: Improved ability to relax, a reduction in stress, normalising of blood pressure - both for high and low conditions, increased vitality, a larger lung capacity, balancing of the relationship between the two brain halves and good results as a form of asthma therapy.

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Vibrations create Forms
A World of Vibrations
Our world is permeated throughout by waves and vibrations. When we hear, it is waves which pass through the air and strike our ears. When we speak, we produce vibrations in the throat. When we turn on the radio and television we tune into various wavelengths. We speak about electromagnetic waves and we all know about light waves. In the case of an earthquake the whole ground vibrates and seismic vibrations are created. Even the stars pulse in a certain rhythm. And our own bodies are permeated by vibrations. Blood circulates through us in waves. We can hear the heart beat. When we tense the muscles in the arms and legs, they actually begin to vibrate - complicated chemical and bio-electrical processes in the muscle fibres take place in series of vibrations.

- an article based on Dr. Hans Jenny's research on sound.
appear which reveal the possibility of movement, which is inherent in, for example, a heap of sand. The vibration takes hold of the grains of sand and moves them according to the way in which the field of vibration is arranged. We observe apparently free dynamics when the grains of sand move. Experiments show, however, that when the movement of the forms or elements is kept going by the vibrational process, then it occurs on the basis of a certain regularity. We encounter three components in this connection: energy, form and movement; vibrations or sound waves which become visible as forms and movement. It is therefore not just sound forms which are produced. Certain vibrations, which are called phases, cause the particles to form currents. These currents run side by side in opposite directions, as if following a law. Or the vibrations change and cause a revolving movement. The sand or the fluid turns around a point. These revolving processes are stable and continuous as long as the vibration is transmitted. The material which the sound influences is not thrown out to the side. If coloured sand grains are used to highlight the rotating piles then it shows that the pattern of the movement is constant. It begins and is kept going solely as a result of a certain tone or vibration.

Form and Movement in the Micro- and Macrocosm
In the study of wave phenomena, we are not just concerned with the forms that are created, Dr. Hans Jenny explains, but also with the way they are generated. By systematically producing vibrations with series of tones and sending them through different materials, living patterns

Cymatics - a Science
By using an accurate instrument called a tonoscope vibrations can be produced in fluids or in sand, for example. This can reveal a whole world of activity and effects. The name “Cymatics” was chosen for this area of study (kyma, Greek for wave, kymatica, to do with waves) (see also page 3).

A soap bubble raised up in the air and formed by a sound vibration. To begin with it was the hemisphere of a normal soap bubble, placed on a membrane.

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You are struck by Wonder
Although all the facts with which we are bombarded have a tendency to dull our minds, the reaction to this world of sheer waves is one of surprise. The phenomena which appear in the experiments have surprised both the scientist who discovered them, artists and the rest of us onlookers. We look at photographer J.C. Stuten’s pictures of Hans Jenny’s work and we see the living processes on Hans Jenny’s films. Right in front of our eyes we witness how the sounds create forms from different material, such as sand, in a mash of liquid clay, of soap bubbles, in liquids, and so on. The tones produce geometric forms, globes, crystal-like figures, landscapes and, not least, galaxy-like spirals, which constantly move in the same way as the galaxies in space, as we have learned from people who look through telescopes. We remain both pensive and strongly inspired. We begin to wonder whether the claim by scholars, philosophers, scientists and yogis from antiquity to the present day, is a fact - that the whole universe, from the smallest cell to the biggest nebulae, is formed and maintained by only vibrations.q
Sources: The book Cymatics vol. 2 by Dr. Hans Jenny, 1974 Basilius Presse. The films of the same name by Hans Jenny, published in the USA, in 1986 and 1992, by Macromedia and finally the article The sculpture of vibrations by Hans Jenny in Unesco Courier, Dec. 1969. The material is reproduced with the permission of Mrs Maria Jenny.q

Spores of moss (lycopodium) form a galaxy of small globelike piles. See the picture above. Each pile rotates on its own axis and also rotates as a single body in relation to the other piles, like the elements of our solar system. In another experiment a cyclical sequence appears in a mixture of salt and water. The salt collects itself in round formations - only to change and break up again. At an unchanged frequency and amplitude these regular cycles repeat themselves. They build up, last for some time and then dissolve again at the same constant tone. The picture on the back of the cover is the result of two simultaneous tones which create a compound of two basic, different forms. The same happens in completely different fluids (ether, alcohol, water, petrol, glycerine, turpentine, paraffin, albumen, etc.) which flow over a membrane, but not in the membrane itself.

An interesting detail in Dr. Jenny’s investigations into sound forms in fluids and gas is that if you first produced disturbance in a fluid, gas or in a flame, then it becomes sensitive to the influence of sound. “It is only when the gas flame is disturbed that it is susceptible to the influence of sound; that is, it is at that time that it can form sound figures.” Does this also apply to me? When I am disturbed, am I then influenced by emotional vibrations from other people? And does it also apply to sickness? Isn't that just what I realise when I experience peace in meditation or relaxation? I take a break from the influences and recharge. q 7

Nada Yoga is about sounds. It is the knowledge of the quality of sounds and the way they affect people. We have sounds that are coarse and sounds that are fine. The finest sounds we hear in the mind. In yoga we call them the inner sounds.
In 1969 Swami Satyananda and I visited an ashram at Bhagalpur in Bihar, India. A yogi had settled there who specialised in Nada Yoga. I remember there were big paintings there of meditating figures with rainbow auras painted around them. The different colours illustrated different levels of consciousness and their corresponding inner Nada (sound). The reason why this yogi (who had the same teacher as the founder of TM, Maharishi Mahesh Yogi) had established an ashram exactly there was because the area, which was situated somewhat outside the city, had earlier belonged to the military. The soldiers had dug deep underground corridors and tunnels which reached all the way to the town. There were caves or day rooms connected to these corridors deep under the ground and it was those caves which attracted the yogi. Here you could sit and meditate without hearing a sound from noisy India. In return, you could concentrate on the inner sounds. In the total silence down there, I experienced how the sounds really stood out. Some years ago, when I made the tape (and now the CD) Experience Yoga Nidra, I asked the musician and composer, Roop Verma, to make the background music to the longer of the two deep relaxations on the tape. Through his knowledge of the old Indian music, he knows how outer sounds influence us - a knowledge of tones and the composition of tones, which was about to be forgotten. He had learned this, partly with his first teacher, Swami Shyam, and partly through studies of old scriptures about Nada Yoga in Indian music. In connection with the production of Experience Yoga Nidra he recorded, as the first musician of our generation, themes and harmonies which are in tune with and touch our different chakras or psychic centres. In an earlier issue of Bindu we dealt with the effect of music and Roop Verma contributed an article. In this issue, our subject is the inner sounds which are experienced and used in the deeper steps of the Nada Yoga meditation. We will, however, let him tell us a little about the development and the division of Indian music - away from its original wholeness and power. One of the years Roop Verma came to play on our three months course I asked him whether or not there were different ways to perform Indian music. It had puzzled me that certain celebrated musicians of India today, at least to me, did not seem to communicate any feeling of meditation. I seem to experience a difference between those who

Nada Yoga

Collected and edited by Swami Janakananda
“put on a show” or “perform” their music - and such people as the flute player Panalal Gosh or the singer Kumar Gandharva, who radiate such a degree of devotion in their music that it places the listener in a deeper state. Roop gave me the answer in an introduction to the music that he was going to play for us: “Until about a thousand years ago there were no such thing as ‘concerts’ in the Indian tradition. There was no ‘performance’ of music or dance or singing. Music was attached or confined to the temples for sacred ceremonies and rituals. They were not entertainment forms of music, but what I call very potent sound formulas. They are like different elements; you put them together and you get a certain effect. So these sound formulas were used in ancient times to bring tranquility and peace to agitated minds and tired bodies, as well as to change and transform the listener. On the one hand it had a therapeutic effect; to heal disease, to heal sickness. On the other hand its aim was to focus the attention of people who came to the temple towards onepointedness. When we are centred and onepointed our lives take on a different meaning. When, on the other hand, our minds are scattered, the way we experience things is also influenced. So in order to achieve that focus, music was instrumental. From the beginning of the eleventh century we see a turn in the history of India. Many foreign invaders came and established their empires there. The Persians, the Moguls, and so on. They

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liked the music and art so much that they invited the musicians to their courts, to appreciate and honour them. Now here at the beginning of the 11th century something very significant happened. The musicians and the music, which up to now was only played at the temple, was made available to everyone from the king to the common people. People who did not belong to the temples could now enjoy the music. However, this had one disadvantage.

Previously the artist or the musician did not have to prove anything. In the temple you play as part of a ceremony. There is a deity, there is a God sitting there and you don’t have to prove anything, because supposedly God knows everything - all the music, and all the variations, all the rhythms. But the king doesn’t know, so you have to prove it to the king. So the ego comes along. Now egos began to build up as the art was developing. They became very intellectual. A lot of music started

to come from the left brain, and as a result the music took another shape. Because as the inner feelings change so does the art. Expression changes. From that point onwards there are two branches in music. One became the entertainment branch or what I call deshi. It is mentioned in the scriptures. The other is called margi (marga means a path) when we use the music as a path to evolve ourselves. I had the honour of studying in both the schools...”

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One can say that Indian music today, with the exception of folk music, includes devotional music (Kirtan and Bhajan), as well as esoteric music linked to Nada Yoga which masters the aforementioned knowledge of the influence of sounds - and finally, ordinary concert music. These three may very easily overlap and there is no doubt that music as such affects us and therefore is often seen as being part of Nada Yoga. To that may be added the fact that Indian musicians, at least in earlier times, had to learn yoga and certain breathing exercises to strengthen and develop their ear for music. We present one such exercise in this issue of Bindu (see p. 4). Music helps us relax and creates an atmosphere, but Nada Yoga reaches deeper and more precisely into our states - and the actual Nada Yoga, the meditation on the inner sounds, has a strong liberating effect in dissolving the very deepest blocks and inhibitions of the mind. Therefore Nada Yoga belongs to Laya Yoga (Laya = dissolution). “The deer is entrapped by sweet sound. The cobra is enchanted by sweet music. Raga Punnagavarrali charms the cobra. Nada entraps the mind. The mind gets Laya in sweet nada. Therefore you can easily control the mind Through the practice of Nada Yoga” (Swami Sivananda) “By one who is desirous of attaining perfection in Yoga, Nada alone has got to be closely heard (meditated upon), having abandoned all thoughts and with a calm mind.” (Sankaracharya, Yoga-taravali) The beginning of this article I wrote in 1996. The following text has been

are methods in yoga where you do not have to suffer to liberate yourself from old influences or tensions, where you do not always have to confront your traumas but where you can dissolve them using other methods. I was thinking about Laya Yoga and especially the discipline within Laya Yoga which is called Nada Yoga where you concentrate on the inner sounds. Despite the immediate interest of the scientist, it must have sounded rather shocking to his ears, because, despite the ostensible independence of science in relation to religion, the basic belief still prevails that things must hurt before they do us good.
A yogi does not “retire” - but he doesn't necessarily have to be a guru or guide all his life. Swami Satyananda is now continuing on his path, in that period of life, where, after having helped others and shared his knowledge, he is now devoting himself to meditation and to the realisation of his relationship with the cosmos.

Laya Yoga
Every meditation practice or technique which breaks down the inhibitions of the mind and brings its activities to a halt is called Laya Yoga. Under the heading of Laya Yoga you find many different methods and Nada Yoga is one of them. Even during the meditation, Antar Mauna (inner silence) you are able to bring your consciousness to a level of complete rest. The ancient great masters of Hatha Yoga, such as Gheranda Rishi and others claimed that Hatha Yoga could also be a part of Laya Yoga. For instance, breathing exercises can be used to achieve a mental state totally free from tensions. Nada Yoga is an important method in Tantra.

rewritten and edited from an article which was printed in the Danish Bindu in 1973. It is mainly based on things I learned during my time in India with Swami Satyananada, from his teaching and lectures, and from lectures and expositions he gave when he visited the Scandinavian Yoga and Meditation School. We are printing this material upon the request of some of our students. The inner Nada Yoga is still a part of the education at the Scandinavian Yoga and Meditation School. In 1974 I participated in a conference in Denmark where doctors, psychologists, authors and others, as well as myself representing yoga, were invited by the Ministry of Education to exchange ideas on psychosomatics (the relationship between body and mind). I happened to tell a young scientist there that there

Nada Yoga - a Definition
The word Nada comes from the Sanskrit root, Nad. Nad means to flow. The etymological meaning of Nada is a process or a stream of consciousness. Normally, the word Nada means sound.

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Different States of Nada
In Tantra it is thought that sound occurs in four dimensions - four levels of sound relating to frequency, fineness and strength. 1. The coarse (ordinary audible, material) sound, 2. the mental sound, 3. the visualised sound and 4. the transcendent sound. This we can compare with other tantric meditations where, in order to satisfy the mind, we begin in the senses and create a state of security as a basis for going deeper. (See also Bindu no 8.) From the body we turn to the breath which is experienced without any interference. In this way, a deeper relaxed state is triggered. With a mantra - a sound syllable which we repeat mentally - we transcend the mind and reach the inner sounds and symbols, pictures which we see within and which, depending on their nature, represent certain levels of consciousness. Through the use of an inner symbol, we remain aware in normally unconscious states and get closer to the core of our being and the state of pure being. Ordinary sounds are the coarsest manifestation of sound. We are aware of the coarse sounds and we hear them every day - vibrations which hit our ear drums from the space around us, from our surroundings. From there we move on to other, finer sounds. After having left the coarse and tangible sounds that we experience through the senses, we can become conscious of the mental sounds. They

are sounds which we hear in the mind. Their frequency and strength is dependent on both our mental and physical state. In a relaxed state they are easy to perceive. The sounds also become clearer when we are exhausted, agitated or after strong physical activity such as running or intense and prolonged dancing. When we go deeper we reach the visual or astral sound, the sound which is found in the inner space and which appears in visual forms. Certain forms answer to certain sounds and certain states. Sounds or forms which we, for instance, experience in our dreams, belong to this plane as well as sounds which are linked to certain meditation symbols (see also p. 3). Behind the visual sounds the transcendent or supra-conscious sound is found. The transcendent sound and the transcendent consciousness are the same. In Nada Yoga universal consciousness is perceived in the form of sound. The tangible or coarse universe which we experience through our senses, the mind and our normal experience of people can in this way be led back to the source, the sound, Nada. For the Nada yogi it is important to make contact with the sounds which are found in the other dimensions; the mental and psychic. In this way the capability of the mind is expanded. Let us look at each of the four states, starting with the highest. In Sanskrit they are called : Para, Pashyanti, Madhyama and Vaikhari.

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Para Nada
The transcendent sound, which has the highest frequency, is called Para Nada. Para means highest or farthest, and in this connection: transcendent, and Para Nada the transcendent sound - which is beyond the reach of the sense organs. The sound is heard in other dimensions on other levels of consciousness. In music each tone has a certain number of vibrations per second, which we call frequency. The character of the tones can vary in length, strength, height and harmonics (overtone structure). Exact knowledge about this can be had by using a frequency analyser, which can split a tone in vibrations per second and show its overtone structure. In Indian music the vibrations are called Andolana. We are familiar with high frequency sounds from daily life, such as dog whistles and the sounds which bats emit, as well as electronically produced tones. The ear cannot grasp sounds which vibrate beyond a certain speed. When a certain frequency is reached, the sounds become inaudible and can only be perceived subjectively - as an inner sound. We are not conscious of all vibrations in the cosmos. Also below a certain level, we are limited by our sense of hearing. The waves, which the electroencephalograph (EEG) registers in order to measure the brain’s bioelectric impulses, are limited to a quite small number of sinuswaves, between one and 60 Hz. These “waves” actually belong to the musical scale. But the human ear cannot perceive sounds below about 16 Hz although the structure of such tones are in harmony with the rest of the scale. The very low bass tones, for example, can be felt as vibrations directly on the body even though they are not audible.

The Nada Yogis have defined that Para or transcendent sound has the highest frequency. Para’s intense vibration makes it inaudible. Various texts mention that the Para sound has no vibrations. It is a sound without movement or frequency. It is a still sound. We cannot grasp a sound which has no vibration. When a sound reaches its maximum height, then it reaches stillness - and that is Para Nada. It is completely uniform. A state of consciousness corresponds with this stillness. The Nada Yogi reaches this state by becoming one with Para Nada. In the Upanishads, the mantra OM is said to be the manifestation of Para. The audible Om, which we chant, is not Para because it is the object of our hearing, our understanding and our logic. Therefore, the audible OM cannot be called transcendent. Para is at the same time silent and eternal. It has form and its nature is Jyoti (light). It is different to the sounds one usually understands or hears. The Upanishads state clearly about the Para Sound: “This is OM, this sound is OM.”

mouth. It is not heard with the physical ear, but with the inner ear. When I loudly say “Ram, Ram, Ram, Ram”, it is called Vaikhari but when I close my eyes and mouth and go in and mentally repeat the sound, “Ram, Ram, Ram, Ram”, while visualizing its colour and form, it is called Pashyanti. When the word or the sound is heard in a sphere where one is not conscious of the outer surroundings, it is called Pashyanti. When every outer sound has disappeared and you hear a complete new sound, unlike the way the ordinary sounds sound, then it is a special kind of sound or Pashyanti Nada.

Madhyama
A sound, which has fewer vibrations than Para and Pashyanti, but which is finer than Vaikhari, is called Madhyama. Madhyama is a sound that can hardly be heard. Ordinarily when two objects hit each other they produce a sound. But in the case of Madhyama no two things physically hit each other to produce an audible sound. For example, when a clapping sound is produced, it is called a coarse sound. Madhyana produces vibrations such as when one whispers; it is an intermediate sound. The word Madhyama means “in between” or “the middle”. The middle sound can be called whispering or is like the sound of whispering.

Pashyanti
The second level of sound has fewer vibrations and is coarser than Para. It is called Pashyanti. Pashyanti in Sanskrit means: “that which can be seen or visualised”. The old scripts maintain that sound can also be seen. How can one see sound? Have you ever heard music in a dream? This particular dimension of sound which occurs in dreams is called Pashyanti. It can be called a mental sound. It is neither a conscious sound nor a half conscious sound. It is a subconscious sound which is linked to the characteristic of your mind and not to your vocal organs; tongue, throat or

Vaikhari
The fourth and coarsest plane of Nada is supposed to be Vaikhari. The Vaikhari sounds are audible and can be physically produced. Vaikhari is the spoken sound. It is produced for example by rubbing or hitting two things

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against each other. Its vibrations are limited to a certain range. Para has the quality of soul, Pashyanti has a mental quality. Madhyama has the finer quality of the vocal organs and Vaikhari has the coarse quality of the same physical organs.

The Universe and Nada
According to Nada Yogis and scriptures dealing with Nada Yoga, the original and transcendent sound is the seed from which the whole of creation has grown. The Nada Yogi experiences the macrocosmic universe as a projection of sound vibrations - that the whole world has developed from sound alone. In the bible there is a reference, “In the beginning was the word, and the word was with God”. This word is called Nada or Shabda in Sanskrit. Sufis in India call it Surat. SuratShabda-Yoga is another name for Nada Yoga practice. Certain Muslim mystics are also of the opinion that the world has developed from sound and form. Australia’s original inhabitants, who supposedly have the oldest continuous culture on earth, tell how “the ancestors” made the world come into being through song. The Nada Yogis claim that the five elements, the five physical senses, the five subtle senses, the fourfold mind and the three gunas have developed from an eternal sound. That means that the material, the mental, the psychic and the intellectual universe have all originated from Nada-Brahma, the sound universe. It is the way the Nada Yogi experiences his/her reality. It manifests itself in the form of

vibrations, of which the highest either does not vibrate at all or vibrates at such a high frequency that it lies outside the reach of human senses. The eternal or original Nada vibration is the highest. When any object vibrates with an enormous and incredible speed, it then becomes silent. That means that the highest point of speed and vibration is silence and that sound seems to be the creative principle behind all matter (see also p. 24). The Upanishads (in this context with special reference to Nada-BinduUpanishad and the Hansa-Upanishad) and the Vedas describe that in the beginning was nothing. There was absolutely nothing, there was nonexistence in the universe - there was only sound. The sound was unending, the sound was the only existing reality. The universe evolved from sound, and therefore the fundamental structure of the universe is based on Nada or sound vibrations. Music is a result of Nada. Mantra in its purest form is a manifestation of Nada. The movement of Energy (Prana) in the body is an expression of Nada.

which dissolves tensions and blocks even at the finer levels of consciousness. To reach the superconscious or transcendent and non-empiric sound, the process must start with the experience of the coarser sounds.

The Nada Centre
In which centre is the transcendent Nada experienced? Bhaktis (those who liberate themselves through devotion) place their Ishta, the personal centre, in Anahat Chakra by the heart. Yogis use the centre of intuition in Ajna Chakra in the middle of the head. The Vedantics seek it in Hiranya Garbha, the golden egg in Sahasara Chakra in the upper part of the head. In the same way, the Nada Yogis locate the sound centre in Bindu, which is located at the top of the back of the head. Bindu is the centre in the brain where an on-going sound vibration takes place. To be able to experience the Nada sound, Bindu has first to be located. But rather than exploring the theory of this science at the outset, it is better initially to investigate it in a practical way and localise or discover the mental, astral and psychic nature of the Nada sound. Different techniques and aids within Nada Yoga can be used to help practitioners go through the different psychic or non physical sounds, so that consciousness can be brought into harmony with the real Nada.

Nada Yoga Meditation
Every real form of meditation shares certain common effects with others. Some forms are stronger, some weaker, some focus on one thing, others focus on another. The method in Nada-Yoga-Sadhana is to reach the original, the finest inner sound, Shabda or the inner word. You could characterise Nada Yoga as a sort of vibrating vacuum cleaner

Practising Nada Yoga in Bhakti Yoga
When a Bhakti Yogi uses a Mantra, the first technique that he or she uses is to

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focus on the sound produced by the Mantra. It is said aloud. When he has warmed up with this practice or when he has attained a deeper and clearer awareness of the sound of the Mantra, then he stops producing audible sound vibrations. He intensifies his experience of the Mantra by whispering it or by saying it with his lips without producing any audible sound. He aims to become one with the whispered Mantra. When it is achieved, he stops moving his mouth and begins to experience the mental mantra. Now he chants the same mantra in his head. It is as if he himself is not producing the mantra, but is hearing the mental and fine tones. Although they are inaudible to the outer ear, they can be picked up by a finely tuned consciousness. The Bhakti Yogi experiences the Mantra as if he actually sings it so that everyone can hear it, but it occurs only in his mind. When the Mantra begins to work, it causes the awareness to let go of all outer things and turn to the deeper levels of consciousness. Then the Mantra changes to Nada, a constant sound which occurs by itself. The aspirant will on this level of consciousness think it audible, but it will not be noticed or heard by others. It is Mantra-Nada-Yoga for Bhakti Yogis.

of Nada. It seems as if some compositions of sounds (Nada) are unpleasant at one time of the day and pleasant at another. These forms of Nada are known as Ragas in music; tones or combinations of tones. India’s morning music (Bhairawee or Bhairawa Raga) appeals to some but not to all. Swami Satyananda says that he is especially fond of India’s midnight music, the Malkos, the Durga or Jogia Ragas. The evening raga, such as Bhimpalasi, is also popular with many. For the most part, girls and boys at the sensitive age prefer Bhairawee. This shows that the mind reacts differently at different times to different sound waves.

Music and Nada Yoga
Music is also Nada Yoga. When it comes to music, one speaks of Nada on a scientific and classical level. In the past, musical development took place in close harmony with Nada Yoga Sadhana. Pranayama (breathing exercises) constituted an important and preparatory part of this Sadhana. In different conscious states the mind is attracted to different vibrations

Music can be a pleasant, interesting and inspiring spiritual practice in itself - but it can also be a part of Nada Yoga. Through music, the mind can be tuned to the finest vibrations and thereby prepared for the transcendent Nada. “Nada is found within. It is a music without strings which plays in the body. It penetrates the inner and the outer and leads you away from illusion.” (Kabir)

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Practical Introduction to Nada Yoga
Precautions
There are certain precautions one must take as an intense Nada Yoga practice may give rise to a disturbing presence of certain sounds. It can happen that a person experiences the sound as if it’s humming in the ears the whole day. It can be that they hear the ringing of bells or other sounds. Maybe they become disturbed in their daily tasks by these tones. Through the practice of Nada Yoga, the inner sounds are gradually developed, but you do not have to listen to them at other times of the day. Let us presume that Nada Yoga has been practiced in the night and you have discovered different sounds. Next morning you go to the office or the classroom and begin to hear the sound of bells. You want to avoid it, you try, but you still hear the sound. You may also experience it as if bees are humming in your ears. If these symptoms appear you have to consider what to do. Is your diet okay, otherwise you have to change it? Do you want to continue, but

get irritated or disturbed by the sounds? Then you have either to change your attitude or if you do not succeed and you want the sounds to stop then you have to give up the Nada Yoga path. The Nada Yogi can hear a voice in a wakeful state if he is at an advanced level. To him, it sounds as if someone is whispering in his ears. This is a kind of “Siddhi”, an ability to hear the sound of an unknown voice. This, however, should not be confused with a group of people in India called Karnapischachee, which means “the ghost in the ears”. The Karnapischachees are often consulted by people in difficulties. Then they hold a kind of bell in their hands and ring it close to their ears for some time, until they hear a voice. They are used as oracles and whatever is heard or whispered in their ears is told to the person who asks. A Yoga practitioner should not use such a method to achieve this result as it often leads to deafness. As a result the Karnapischachees in India have hearing problems. These days many people have hearing impairment, which can be compared to

the case of the Karnapischachee. This applies to rock musicians, for example, or people who work in a noisy environment. These injuries of course have nothing to do with Nada Yoga. Also there are people who spontaneously hear sounds like a ringing in their ears. Some of these sounds are probably caused by injuries to the ears, while others can be related to the sounds which are heard in Nada Yoga. The Yogi cannot monopolize these phenomena; the yogi has only discovered them and knows how to use them to benefit from them, but the sounds are there anyhow. If a person seeks help from a doctor because he or she is suffering from disturbing sounds and does not know the positive sides of this phenomenon, and if the doctor cannot help maybe it could be useful for the person to change his attitude to the sound and start to practice Nada Yoga under the guidance of an expert. It often happens that things we want to get rid of do not disappear when we fight them. It applies, for example, to pain. If we, on the other hand, face the pain and allow ourselves to experience

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it then we can let go of it. In the tradition of tantric yoga this method is called Pratyahara and has already been described in an earlier issue of Bindu and in more detail in my book, “Yoga, Tantra and Meditation in Daily Life” (Rider Books, UK and Weiser, USA. In France, Editions Satyanandashram). This way of applying pratyahara is in accordance with a conclusion which science has reached concerning noise in the environment. If you view the sounds as harmful and become irritated about them, you are more likely to be harmed by them than if you, to a certain extent, can accept them. With regard to Nada Yoga, it is possible to turn what you once considered disturbing sounds to your own advantage (see also p. 24). Teresa of Avila (Teresa de Jesus) did not find guidance about the inner sounds in the European culture in which she grew up. Therefore she didn’t realise how she could use them in her spiritual life. She describes them as clearly as any Nada Yogi in her book, “The Interior Castle”. “It roars like many big rivers with waterfalls, there are flutes, and a host of little birds seem to be whistling, not in the ears, but in the upper part of the head, where the soul is said to have its special seat.”

Preliminary Practice of Nada Sadhana
The Nada Yogi must learn to use certain Mudras (attitudes) and Bandhas (locks) and a few pranayamas (breathing exercises). Here follows a short description of Mula Bandha, which is known by most people who practice Hatha Yoga. And of a Mudra which is useful to awaken the Nada sound, Vajroli Mudra. This also is known by many Hatha Yoga practitioners. But here it may be explained in another way. In many books on Hatha Yoga we are told that in Mula Bandha we should concentrate on the anus, on the anal sphincter muscle. That is in itself correct. But according to Tantra, and the more advanced yoga, Mula Bandha is nevertheless a contraction of the perineum. This must be understood fully. The contraction of the anus or the anal sphincter muscle is Mula Bandha as understood by Hatha Yoga novices. In Tantra Yoga, however, or in the academic yoga, Mula Bandha is the contraction of the perineum, the “seat” of kundalini, also known as Muladhara Chakra. It is the area between the anus and the sexual organs which should be contracted. In Nada Yoga, Mula Bandha therefore means contraction of the perineum and not contraction of the anus. Vajroli Mudra also comes under Hatha Yoga. Many different forms of Vajroli are found which we shall not go into detail about here. The contraction of the muscles of the sexual organs and the urinary system is called Vajroli Mudra. It influences two important nerve flows in such a way that the energy becomes freed or transformed to heat (see also my book for a more detailed description).

Muladhara Chakra is the actual starting point for Nada. When this chakra is “heated”, the sound is experienced by the aspirant. But the sound has different frequencies in the different chakras, which are found in the spine and in the head. Therefore the chakras are the places of the original sounds. Different Bija Mantras or seed-syllables give them vocal expression: Lam, Vam, Ram, Yam, Ham and Om. The symbols for these chakra are lotus flowers - four-leafed, six-leafed, 10 leafed, 12-leafed, 16-leafed, twoleafed and a thousand-leafed lotus flowers. These lotus flowers represent central seats of consciousness and of the psychic energy in the spine and in the body. The leaves symbolise the number of minor energy flows, Nadis, to and from each chakra and their corresponding frequencies, indicated by secondary Mantras (sound syllables) written on each leaf. There are many breathing exercises which can manifest or create a distinct Nada. As already mentioned, for all yoga practitioners and musicians Bhramari (the Bumble Bee) is essential (see page 4). Murcha pranayama can also be used but should not be used by a beginner. You must go step by step through other breathing exercises before you can begin to use Murcha. When you have learnt Mula Bandha, Vajroli Mudra and Yoni Mudra (see the next section), then they are practiced while you hold the breath and turn your awareness to Bindu, the psychic centre at the top of the back of the head. This is where the Nada Yoga concentration really begins.

A Nada Yogi’s Diet
A Nada Yogi’s diet ought to be easily digested. Food which brings a quick energy rush to the brain is not suitable. Food and drink which cause hypertension or high blood pressure should be avoided. You have to ensure you get the necessary nutrients which the body needs to maintain its normal functions.

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The Poses in Nada Yoga
1. The Nada Yoga pose is the most suitable pose for beginners. Take a fairly big and hard pillow, place it on the floor and sit astride it, so there is pressure on the perineum. Sit with the soles of the feet flat on the floor. The knees project up towards the ceiling so that the elbows can rest on them. The back is kept straight. Put a thumb in each ear and at the same time rest the head in the hands. 2. Sit in Siddhasana (the perfect pose) with a stool in front of you to rest the elbows. Siddhasana can be used so that you can sit in this pose for a long time without moving. Siddhasana is done by placing one heel up in the groin so that it presses against the perineum (for men) or the vagina (for women). The rest of the foot lies against the thigh. Then put the other foot above the first, so that the heel touches or presses the lower abdomen and the pubic bone above the sexual organs. The two heels must be placed right over each other without touching each other. Then the toes of the upper foot are placed between the thigh and leg muscle. In this way the pose is locked. Some people are also able to put the toes of the lower foot between the leg muscle and the thigh from below.

3. For the little more advanced, Yoni Mudra is recommended (the experience of the womb). Sit in Siddhasana. Inhale and close the ears with the thumbs.

close the mouth with the ring fingers and the little fingers by placing them above and below the lips respectively. After that do Mula Bandha and Vajroli Mudra while holding the breath. Variation: Do the above but without closing the mouth and nose. Stay sitting for longer and breathe normally. 4. For the even more advanced Nada Yoga practitioner who has succeeded in following the sounds with closed ears: sit in Siddhasana with the hands resting on the knees and the index finger in contact with the thumb either at its root or at its top. The three other fingers are stretched out and together. This is called Chinmudra. At this stage you need no longer close the ears if there is reasonable silence around you. “Bathe in the center of sound, as in the continuous sound of a waterfall. Or, by putting the fingers in the ears, hear the sound of sounds” (Vigyan Bhairava Tantra)

When you sit in the Pose in Nada Yoga
Lock the ears gently with your fingers. Listen inwardly up to Bindu. Bindu is the cranium’s plexus. It lies above the pineal gland, above Ajna Chakra and diagonally behind and above the pituitary gland, behind Sahasrara Chakra.

Place the index fingers over the eyelids, so they can stay closed without being pressed too hard. Close the nostrils with the middle fingers, one at each side and

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Bindu is found in the part of the brain which deals with our optic powers. The Brahmins in India have a tuft of hair where Bindu is situated. It is this centre you should concentrate on after having closed the ears. And it is here in Bindu that the sound is manifested or where it descends from the transcendental plane to the next plane and where you experience it as an astral sound. Now you will probably hear some sound or other. It can be the sound of a bumble bee, of bell chimes or of bird song. It can be the sound of a musical instrument, maybe the sound of a harp or a flute. It can also be a sound which is kind of like the whistling tone of a television, but finer. Continue listening for some time to the sound which comes to you first. Let the first sound be the starting point - the one end of a thread. Hold on to the first sound as closely as you can. When you are getting close to the sound then you will experience that

other sounds arise in the background. The sound which arises in the background maybe is of the same kind, but finer, or of a totally different kind. At this point you let go of the first sound, you go onto the next and concentrate intensely on it. During your listening the sound will become clearer. You get closer to the sound, both mentally and psychically. You feel as if you become one with the sound. When this has happened you discover that a third sound has arisen in the background, which you then concentrate on. In this way you can continue with a fourth, a fifth, a sixth sound, a seventh, eight and ninth inner sound. Different sounds can arise. It can be like a river which flows through the landscape, the distant sound of the sea, a bell which rings or chimes. It can be the sound of a flute, a guitar’s rhythm, the sound of birds chattering at sunset, crickets or grasshoppers. It can even be the vision of a star-filled night sky, completely

devoid of sounds. If it is difficult to discover a sound at Bindu then let the mind search at Sahasrara or Ajna or at the left or right ear drum. Or experience a space within, with the starting point in the middle of the head or search at the centre between the eyebrows until you are sure to hear a sound. The method to discover the sound is simple. Instead of imagining a sound put all your attention on listening and then you will soon hear the first sound. An inner Nada sound should be followed until it becomes clear and distinct. As soon as it is distinct, another sound (another tone) is heard or felt in the background. When you discover the other sound then let go of the first and follow the second. Sound after sound keep coming up as if from the bottom of an ocean. This process continues until the consciousness feels free of the mind’s influences.

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When to practice
You can practice Nada Yoga whenever you have time. However, in order to get a tangible result, a beginner should practice Nada Yoga between midnight and two o’clock in the morning. Midnight is the time which is free from other disturbing sounds, and the absence of light in the atmosphere also helps. Doing it at this time helps to turn the mind inwards. Or get up at two or three o’clock in the morning, take a shower and then sit properly. You will find it quite different at this time and you will surely hear something. And once you have had a hint of the sound, when you have found a trace of the sound, when you have come into contact with a sound, then it’s easy to go on. Of course there are diversions which are disturbing at the beginning. Our mind is influenced by inhibitions, habits, tendencies and urges. But even if there are many disturbances within, the practice of this Sadhana, the spiritual practice, is generally very rewarding. The Nada Yoga Sadhana unfolds and reaches the unbroken sound, which in yoga is known as Anahata Nada - the sound which continues. It has no beginning and no end. At the highest point of your practice, your Sadhana’s highest state, you may feel that the whole body and mind, the whole personality is nothing but rapid vibrations, a movement of fast sound vibrations and you experience yourself as sound. This Nada Yoga is a great Sadhana, a great spiritual method. In India there are many people who have perfected it.

Traditional Descriptions
Nada at different Levels of Consciousness
The sounds which are heard are real. They are symbols of the contents of the mind and of the consciousness. The mind rests in these symbols and, with their help, goes more quickly into a finer state. The sounds are experiences from a deeper level of consciousness. They are not imaginary. They can be understood as vibrations of different spheres of one’s existence. In the various dimensions of existence, different sounds are heard. First there are the physical sounds, and when the consciousness becomes fine and transcends the physical plane, it then comes into contact with the fine sounds which arise with the movement of the prana or the vital energy in the body. The whole range of human consciousness can be divided into three, or subdivided into five, parts. The conscious area is made up of Annamaya and Pranayama Kosha, two “bodies” which exist respectively as physical matter, the “food” dimension and as Prana, the energy dimension. The personality’s other sphere is made up of Manomaya and Vigyanmaya Kosha, mainly mental and astral material, the conscious mind and the dream dimension. The third area of consciousness is Ananda Maya Kosha, which is a “body”, a dimension, full of bliss. When you practice Nada Yoga, the sounds appear in accordance with the existing connection between the mind and the other areas of consciousness.

Consciousness can, for example, linger in the physical body and when the ears are closed the sounds or vibrations that come from the heart, the lungs, the brain, the blood circulation and the different metabolic processes can be heard taking place in the body. If the consciousness lingers in Prana Maya Kosha - the psychic energy, and has penetrated it, then Nada will be heard as a flute along with many other sounds. If the mind has reached deep into Ananda Maya Kosha, then other sounds will disappear and the fruit of Nada Yoga will remain. It is difficult to say which Nada belongs to a certain area. In India illustrations are given in the form of symbolic stories. The individual consciousness, which continues to rise upwards and to discover the transcendental tones is, in Indian mythology, symbolised as “Rishi Narada”. Without denying Rishi Narada’s historic existence, the esoteric meaning of the word “Narada “ must be understood. Narada is supposed to be a Rishi who has a Veena (a musical instrument) in his hands. According to the Nada Yoga’s traditional schools the inner sound from a Murli (a flute) or a Veena belongs to the conscious sphere, where Dwait Bhava or the duality of consciousness ceases to exist.

Nada Yoga in Bhagavata
Nada Yoga is illustrated in the big Indian book called “Bhagavata” (Bhagavata is not the same as the Bhagavad Gita). Krishna’s lifestory is related in the form of a symbolic and allegorical story. Bhagavata says:

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“Krishna left his palace at midnight and went into the jungle. The light of the full moon shone in the first winter month. He began to play the flute. The flute’s echo spread over the quiet and undisturbed atmosphere. The music travelled from the jungle and was heard by the Gopis (village girls, cowherd girls). And when they heard the sound of the flute, they left their homes and their men in an instant and forgot everything that had happened there. They ran straight away to the place from where the flute’s Nada was flowing. They began to dance around the flute player. After a little while they each discovered that they danced with Krishna himself.” The story seems fantastic, and what lies behind it is only properly understood by yogis. Nada Yogis regard Krishna as a higher conscious plane, where the higher plane’s Nada flows in the deepest state of Nada-Sadhana. When the flute’s tones arise, the senses leave their respective objects for pleasure and experience - they withdraw to the place from where the flute’s sound or Nada flows. There the senses dance around Nada. On that stage the senses let go completely of their links with the outer objects and the yogi will say, “Dharana (the ability to see and experience within) has taken place and Dhyana (meditation) is dawning”. In Sanskrit the word “Krishna” means “that which draws” or “that which attracts”. It is derived from the root “Karshan”. Therefore the word “Krishna” means “the one who draws”, “the one

When the music of the flute is heard, the sense of hearing withdraws from the outer audible sound and merges with the inner Nada. This process is Pratyahara.

Nada Yoga and Kabir
A famous Nada Yogi, Kabir (see him also cited earlier in the text and in the previous issue of Bindu) says in one of his poems, “Who is there playing the flute in the middle of the sky? The flute is played where Ganges and Jamuna float together and the confluence of the three rivers - Ganges, Jamuna and Sarawati - takes place in Trikuti. Oh, this is the meeting place for Ganges and Jamuna. The sound flows forth from the North. Cowherd girls hear the sound of the flute and lo, they are all hypnotised by Nada.” The ultimate experience in Nada Yoga is a sound which is higher than the sound of the flute. The music on this highest plane of consciousness is not a flute, Veena, a cloud, lightning, clapping or the sound of brass instruments being hit together, nor is it any other instrument. It resembles neither the classical music of the East nor of the West. The music of the highest conscious plane is “Unahada Nada”.

who withdraws” or “the one who attracts”. It also means “farmer”. And the word “Gopi” usually means “daughter of a cow herd family”. In Sanskrit “go” means “senses, cow, poor, the humble and the whole visible universe.” Symbolically, Gopi means “senses”. Who then are the men who are married to these senses - these Gopis? You could say that the men of the eyes are the forms and the men of the ears are the sounds.

Unahada Nada or Anahata Nada
What is Unahada Nada? Up to now, people have not been able to agree on this. Some say that it is the cosmic sound of OM. Others say that it is like

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Bhramari - a sound which is unending, unbroken like the sound of a bee. Some say that it is the heartbeat, “throb, throb, throb” which is called “Unahada Nada”. Some call it Anahada and others call it Anahat. These two words have two different meanings. Anahat means “an” + “aahat”. “An” means “no”or “un”, “aahat” means “that which strikes, beats or hammers”. Therefore, Anahat means “unbeaten, or, no hitting of two things against each other”. When a sound is produced, it happens through striking, but Anahat is a sound, which is not produced through any striking. It is spontaneous and automatic. Certain scholars say that Nada is Anahada. “An” means “none” and “Hada” means “boundary” or “connection”. Anahada means “infinite”, “without beginning or end” or “indescribable”. It is a sound on which no limitation can be placed. It can be any sound.

Nada manifests itself.” He continues: “There will be light in the spine. The ‘Sun’ energy [which is connected to the right half of the brain], Surya Nadi, will be awakened. You will feel an indescribable vibrating sound resonate from every pore of your body and it will be like Om or Soham”. This is a description of Nada Yoga according to Yogi Goraknath.

Nada Yoga in India
Different Nada Yoga schools exist in India - for example those which came into existence after Maharishi Mehidas, Radha Swami and Kabir. The initiation into Nada Yoga in India is passed on personally as is the case with the initiation into the use of Mantra and into the great Kriya Yoga. But the Nada Yoga Sadhana remains incomplete both in practice and in theory. Hatha Yoga, Dhyana Yoga, Raja Yoga and other branches of yoga are more complete and are described with accuracy down to the smallest detail. But this is not the way with Nada Yoga, perhaps because it is taught directly from teacher to student, and not revealed in writing. “The mind exists as long as there is sound, but with the cessation of sounds, there is the state of being above the mind. The sound is absorbed in the Akshara (indestructible), and the soundless state is the supreme seat. The mind, which along with Prana has its Karmic affinities destroyed by the constant concentration upon Nada, is absorbed in the unstained One. There is no doubt about it.” (Nada Bindu Upanishad) q

Nada Yoga and Yogi Goraknath
Yogi Goraknath, disciple of Yogi Matsyendranath, was more spiritually developed and had greater insight into the spiritual life than even his own Guru. He writes, “Oh Sadhu (aspirant), carry out Japa [the repetition of a mantra] of ‘So Ham’. That Japa should not be carried out by the mind. It should be experienced in the breath so that even when you are engaged in your daily activities you should be conscious of your day’s 21.600 breaths. When your subconscious or your inner consciousness unites with your breath throughout the 24 hours of a day, 21.600 rhythms are experienced with a speed of 15 to 19 rounds per minute (which is at least 900 breaths per hour). Then Anahata

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On a Wavelength with Oneself
Reports on the sound in us - and how we can use it
“One morning, when I was in third grade, I was very sleepy. The maths teacher was too speedy and like the other children I didn’t have much interest in being attentive. I put my fingers in my ears and, to my surprise, I could hear sounds. It sounded like the chiming of bells, and I wondered where it came from. I removed my fingers but I didn’t hear any bells in the classroom, only the monotonous voice of the teacher. I plugged my ears again and started to concentrate on the chiming. I noticed that the sounds changed and that a high frequency sound gradually became clearer. The sound was not unpleasant and it became steadily clearer and lighter. After a while I removed my fingers from my ears again and marvelled that now, completely without effort, I could listen to and follow what the teacher was going over. I felt clear and alert quite unlike my classmates who sat and slouched over their books.” (Ananda Murti) “My mother comes from a Christian background in the south of Jutland, but even though as a grown up she was no longer a Christian, she sometimes used expressions which stem from the Christian faith. She worked every day in her kitchen garden and when she came in late in the afternoon with vegetables for the evening meal she would say, ‘Ah - it’s so lovely outside, it’s as if angels are singing ...‘ I remember as a 10-year old that almost every day I went fishing down at the brook in the twilight. At that time there would be a breathless silence before the light disappeared. During those moments so close to nature, I heard high tones above me, like fine light voices but when I looked up into the evening sky, there were no angels. For me the sound was just there when I was really having fun playing.” (Omkarananda) “A female student on a longer course (in Austria) was very enthusiastic about Nada Yoga for she had heard the most beautiful music during the Nada Yoga meditation - it simply surpassed anything she had heard before. She would like to have written it down but, as a dream fades away after some time, so too did the music... Another woman came to me after a class on a weekend course ( for advanced students - November ‘96 in Hannover) and said that she had been disturbed by the music that was played somewhere in the house during the Nada Yoga meditation. It was lovely music that she had heard - Spanish guitar music - but it had been so intrusive that she had not been able to hear any other sounds. I assured her that there hadn’t been any music playing in the vicinity during the meditation - and besides she had had her fingers in her ears.” (Jørgen Hastrup) “One morning I was lying on my back practising Yoga Nidra after a short programme of yoga and breathing exercises. All of a sudden I experienced very pleasant classical music with strings, flutes and harps... The music was as real as in an actual concert. Maybe it was the relaxation that allowed me to enjoy the music without wondering where it came from. But when I realised that the music was part of my meditation I became so surprised that the music disappeared.” (Omkarananda)

Tinnitus, Nada Yoga and Hopi Candles
“Lizzie has tinnitus (buzzing in the ears). She got it after an accident when she hit her head hard. However, she has always been sensitive to sounds. Her tinnitus sounds, at best, like the rustling of leaves in a forest, but it can also sound like a diesel engine and other humming sounds. As the sounds are there constantly, they cause her to always have headaches. Now, with the use of Hopi candles she experiences a relief. Her headache goes and although the sounds are there but fainter they don’t disturb. The effect lasts for a couple of days. I taught Lizzie Nada Yoga. She says that she often listens to the tinnitus sounds without putting her fingers in her ears. The sounds are transformed and become high frequency and, because of that, they don’t bother her. She says that when the sounds become higher she becomes completely relaxed in her body. For Lizzy, the Nada Yoga sound is quite different from the tinnitus sounds.” (Ananda Murti)

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Musicians use Nada Yoga as a Creative Tool - Conscious or Unconscious
It is not something new to experience music in the mind. Several classical composers and modern musicians have described how they have experienced music in a relaxed state, after which they have been able to write it down on a sheet of music. “Previously I spent almost all my time playing music. I had an intense practice schedule where I was often going for hours on end - so I needed to find an effective way of having short breaks, to ‘wipe the blackboard clean’, rest my ears and rediscover spontaneity and concentration. I discovered that Nada Yoga was one of the best things I could use. When I reached a point in my practice where it fitted in, then I made a hard little ‘roll’ with whatever was at hand - a sweatshirt, a jacket, a scarf or the like - and sat on it on the ground in the Nada Yoga meditation pose. (See the picture on this page and Nada Yoga on page 8.) After having played music for a long time, the Nada sound was always strong and easy to hear. A high clear tone, usually, which I listened intensely to until a finer tone behind it became audible. Then I ‘jumped’ on to that and continued to listen. I continued until I reached a point

where I was no longer interrupted by thoughts, states or feelings. That point where I forgot everything else and just heard the sound. Then I stopped. The whole thing had only taken a few minutes; and maybe I had just been one with the Nada sound for a fraction of a second. But that was enough.

I felt myself to be clear headed, concentrated and relaxed at the same time and my hearing was once again open and sharp. And when I continued to play, then it was music I was playing and not empty technique. The music was no longer work but fun.” (Adam Christian Moltke) q

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Evenings with song and dance
Ananda is a state of joy where you don’t cling to ideas but just dare to be and experience the unexpected. (Swami Janakananda) Ritualistic or spiritual dance and song are used in many cultures and traditions as a way to wellbeing and to an open state of consciousness.
At Håå Course Center we include song and dance in our courses once or twice a week. It is a small but important part of the course process. Our students come from different backgrounds and circumstances. Religious, non-religious, musical, nonmusical, dance-oriented, non-dance oriented, emotional, non-emotional, devoted, not devoted. Therefore we select music, songs and dance from different traditions.

by Sita

We introduce kirtan (mantra singing) from India, dikhr from Sufism, songs from the North American Indians, from the rain forests of Africa and from the Maoris in New Zealand. The dances we use come mainly from the Sufi tradition. It is a rich tradition of movements, sounds and songs which are used for balance, communication, confrontation as well as for self-discovery. Dance is an expression of devotion to the inner consciousness. (Swami Satyananda) Something happens to people when as a group, they use these methods. It benefits the individual, the group - and even the course process. Generally it lightens up the mood, it loosens up, it’s fun, it’s inspiring and everyone can enjoy it. We don’t sing or dance in order to perform or show off, but to be together. Singing can touch your energy so that you become conscious of your feelings and can channel them - you feel that something falls into place in your body and mind. You can also dance while you sing kirtan if you want to - free dance, as we call it. In the Sufi dance, on the other hand, you follow a prescribed pattern of movements. When I participated in kirtan and sufi as a student on the courses, I opened up in a way I hadn’t experienced earlier. Here is one example: One evening on the first 14 day course I had joined, we sang a Sufi

Dancing Olmeks, the most ancient known culture in Mexico. Photo Swami Janakananda © 1980

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dikhr while we moved in a special way for about 20 minutes. In the middle of the process it was as though a knot had been loosened in my heart. A feeling I couldn’t connect to anything in particular - an unending flood of tears. It was like a cleansing. The next time I was doing this same practice was as a participant on a three months course in Håå. When we sat still afterwards, I experienced for the first time in my life, a state of indescribable joy, ananda. The yoga, the breathing exercises, the singing, the dance and the meditations made this harmonious experience possible. The three months course gave me more time than the shorter courses to really get to know the methods and to achieve the balance that is the basis of the experience and the devotion in the songs and dance. You haven’t got a goal when you begin to sing; you let go, sing with heart and soul and whatever happens, happens by itself. The result doesn’t depend on whether you sing “well” or on the meaning of the words. The sound of the mantra or the dikhr has a certain

There are those who put emphasis on the song’s meaning when they sing but when it comes to it you transcend the mind and the meaning of the words. A mantra has actually no meaning but works through its vibration. A student on a three months course some years ago told me that after two intense days of movement and song in the middle of the course she was released from a chronic pain which she had lived with for many years as a result of a traffic accident. After her body and mind had been cleansed of inhibitions and tensions through yoga and meditation and thus trained to receive and transform any experience that might come, the song and the movement became the trigger that allowed her to release the pain (or the attitude that bound the pain). The further you go back in history the more conscious the human race appears to have been of the innate power in vibrations, song, music and sounds. In the ancient cultures of China and India, for example, knowledge of music was an important science. They

Sculpture by Leif Madsen

vibration, the music has a special rhythm and melody - all of it together plays a role. Afterwards, when the music has stopped and everyone sits still in meditation, the vibrations often continue as very distinct and clear nada sounds (see p. 8).

Have you tried?
Do you ever break into song in harmony with the vacuum cleaner, or with a rhythmic machine like a washing machine, a folding machine or a printing machine? I recommend you not to hold back if the urge takes you. It almost happens by itself that the tones or sounds from the body spill up and out in harmony with the machine. It is not a song you know beforehand. In these situations you can actually go on a journey of discovery that resembles the one you are on when you take part in a kirtan or sufi. This is something indigenous people know about; they often use rhythmic songs when they work. Or have you tried to do the yoga exercise the Lion 5-10 times in a row (see the book Yoga, Tantra and Meditation in Daily Life, page 60) and then sit upright and still with closed eyes for a little while afterwards. But remember that it is important that the sound in the Lion is deep and completely relaxed and that you let it come from the bottom of the body. To be sure that the sound is right then it’s best to have personal instruction. We teach the Lion on all of our courses. It is effective in connection with Nada Yoga. It helps people who stammer and if you do it regularly you develop a full and beautiful voice.

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knew how sounds and music influence matter, the whole of a person’s being and the entire society - and also that it is a help on the way to spiritual awakening. Every blocking, every sickness, physical or mental was seen to be a vibratory or musical problem. The sick had lost their inner harmony and therefore their contact with the universe. They produced different sounds or played music in order to heal and again come into harmony with the “universal vibration”. Indigenous people often place more emphasis on the healing power of song and dance than, for example, on herbal medicine. When I began to lead kirtan classes I realised that the same principle applied

as when you take part as a student. The more you let go, the more satisfactory the result. But as a teacher one also has to be aware of the group’s general state. First you follow the mood of the group as it is when you start, and then it changes through the music. When the energy flows freely we stop singing and dancing and sit down for meditation. It sounds maybe as if you need to think, make plans or do something - but no, not at all. It happens by itself. When we see ourselves in time and space it is clear that we are separate individuals. But when we transcend time and space, then it might be revealed that we in our entirety form a common stream of life energy. (Sir James Jeans)

Before we begin an evening of kirtan the room is often full of expectation, shyness, tension, nervousness, and so on, especially if it is the first time for the group. But little by little, the mood changes. A feeling of relaxation, wellbeing and joy takes over. In the end, when we sit and meditate, the mind is at rest, there is unity and peace, the energy flows freely. There is nada sound, there is clarity, awareness, there is being. Taking part in kirtan and dance increases awareness of who you are and, with meditation, it can open the door to your innermost identity. This is full that is full fullness from fullness proceeds full taken from full, remains full (Brihadaranyaka Upanishad) q

Roop Verma’s musical universe is interesting in many ways and is
certainly worth getting to know. The music on the CD, Chetna (Consciousness) is obviously based on the Indian music tradition (the raga) which he masters with authority and great musical empathy. He plays on a Sitar, the Indian stringed instrument which is a further development of the Veena, considered to be one of the first stringed instruments in the world. The Indian music tradition today contains elements that can be traced back several thousands of years; this says a lot about how varied and profound this music is, both on a spiritual and a musical level. The distinction between Roop Verma’s music and that of traditional Indian music is heard most clearly on the album’s first track, “Raga Kiran Madhvi”, which lasts 40 minutes. As a listener one is taken on an inner journey, guided and composed by Roop Verma. The Raga is made up of three parts: “Alap” which is slow and meditative, “Jor” which is medium tempo and ends fast, and the last “Jhala” where the tabla (Indian drums) are introduced by Subrahash Sarkar. The Jhala starts with a medium tempo and ends with a fast and intense finale. Roop Verma may not yet be counted as one of this century’s greatest sitar masters, on a level with with Ustad Vilayat Khan or his master teachers Ravi Shankar and Ali Akbar Khan, maybe because his goal hasn’t just been to become a virtuoso of his instrument, but mainly because his interest in being a high status performer so far has been superseded by his interest in Nada yoga and on how music can influence the human psyche. This gives his music an extra dimension and you a feeling of being in “safe hands”, especially if you seek the meditative in the music. (Mikkel Nordsø, musician and composer) q

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Yoga, Tantra and Meditation in Daily Life
Swami Janakananda’s book in a revised and extended edition

This book offers an alternative to the misconception put forward by many yoga books, that one must take on a new lifestyle in order to use yoga and meditation. Swami Janakananda describes yoga from within, based on his own experience - from a yogi’s point of view. As you follow the exercises in this book, you will realise that yoga is based on a profound knowledge of human nature. It is the fruit of a living tradition, where knowledge is passed directly from teacher to student, from generation to generation. Step by step you are guided through the subject and in a practical manner you can benefit from the different poses, breathing exercises, meditations and the Tantric sexual yoga. (Rider Books, UK and Weiser, USA). (Yoga, Tantra et Méditation dans la Vie Quotodienne, Editions Satyanandashram, France). “For a long time I have had a yearning to take up yoga, but have been put off by the narrow scholarly and religious approaches that often seemed apparent. Your approach, and the convenient inclusion of tantra and kundalini was so refreshing, and just what I had been looking for. I could thoroughly identify with everything you said; not only that, but I felt that the way in which you communicated your knowledge and beliefs was perfect.” (V. Williamsson, London, UK.)

Read Bindu
Previous issues are still available, with articles on: No. 3: The ability to experience. Headstand. Nose Cleansing... No. 4: Kriya Yoga I. The effect of yoga on the finer energy. The Source of Energy - a Tantric meditation... No. 5: Kriya Yoga II. Psychic energy. Six years of scientific research on the 3-Months Courses in Håå, Sweden. “The Pyramid” and Pratyahara.

No. 6: The twilight hour - did we have a living meditation tradition in the North? Invent tomorrow's education, about R.Y.E. (Research on Yoga in Education). Shoulderstand... No. 7: Silver Jubilee issue! Read about Kriya Yoga III. Yoga for pregnant women. Savasana. No. 8: Harmony between the experiencer and the experienced. On the Tantric meditation Antar Mauna (Inner Silence), its ancestors and cousins. The Lotus Pose. Intestinal cleansing. No. 9: Instructor or Guide? Yoga for the Back. Experience and Knowledge - about the yoga teacher education at the Scandinavian Yoga and Meditation School. Kabir - four poems by India's great poet.

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Yoga shop
The book: Yoga, Tantra and Meditation in Daily Life 175 Sw.Cr. + 55 Sw.Cr. postage. Also available in other languages. New French translation of the book! See also page 29. The CD: Experience Yoga Nidra 165 Sw.Cr. + 30 Sw.Cr. postage. The tape: Experience Yoga Nidra 120 Sw.Cr. + 30 Sw.Cr. postage. Hopi Ear Candles: made of 100% beeswax and cotton; cleanses the ears. See also page 24 in the magazine. 35 Sw.Cr. + 30 Sw.Cr. postage. Nose cleansing pot with instruction brochure: Joghus, (short spout) blue, red, yellow, green or black. 165 Sw.Cr.+ 55 Sw.Cr. postage. Krutis, (long spout) blue, sand, white or green, 195 Sw.Cr. + 105 Sw.Cr. postage. The periodical: Bindu, no. 3-9, 25 Sw.Cr. each + 20 Sw.Cr. postage. See also page 29. The brochure (free): about the retreats at Håå International Course Center. (See page 23).

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Publisher: Bindu, Håa Course Center, 340 13 Hamneda, Sweden. Circulation: 4,000 in English (Also printed in German, Swedish and Danish) Printed: Håå Course Center, by Erling Christiansen & Mark Richards Layout: Robert Nilsson & Swami Janakananda. Translation: Dani Dreyer & Robyn Taylor. Pictures: Front page: Omkarananda; back page: J.C. Stuten; p.2 “Jagannath“, painting on the wall in a barbershop in Bhubaneswar, Swami Janakananda; p.4, 22, 23, 25 Omkarananda; p.6,7 J.C. Stuten; p.9 “Everglades, Florida“ dr. Thomas Schmidt; p.12 Sarat Chandra, Calcutta; p.26 Swami Janakananda; p.27 Leif Madsen. Copyright © 1997 Bindu and Scandinavian Yoga and Meditation School. All rights reserved. No part of this publication may be reproduced in any form without written permission from the publishers.

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CD! ow on N Experience

Yoga Nidra
with SWAMI JANAKANANDA

Inspiration for a richer life

1. The Wholeness of Your Nature, the relaxation Yoga Nidra to the sounds of Mother Earth. Composed and guided by Swami Janakananda. 20.41 2. Travel through the Space of Experience, a piece of music, composed and played on a SwaraMandala harp by Roop Verma. 7.44 3. Discover Your Self, the deep Yoga Nidra. The relaxation is guided by Swami Janakananda, to the music of Roop Verma. 45.16 With the CD there is a 20-page booklet about Yoga Nidra, and how to get the full benefits from the two relaxations. “Relaxation is a state. It is best achieved through a technique that triggers it. The blood pressure is normalised, the immune system is strengthened and the brain relaxes and cooperates better. All the organs and senses of the body are rested in a way that sleep seldom provides. Thus the senses are sharpened and you feel invigorated afterwards. The more familiar you become with Yoga Nidra, the easier it is to glide into the relaxed state. And as you come to know harmony, you are soon able to recall it instantly - in the middle of the activities of your day. What makes Yoga Nidra so special is that it touches all parts of your being through the different methods it contains. After having made the body and mind thoroughly aware and relaxed, I use, among other things, the mantras (spoken sounds) and the visual symbols of the chakras - to awaken and harmonise these energy whirls or fields of consciousness. On this CD Roop Verma, as the first musician, has been inspired to record the ancient music symbols of the chakras, which you experience with my text and guidance during the deep Yoga Nidra.” (Swami Janakananda)

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