Baba
When kaoshikii given
Namaskar,
I cannot ever forget that very magnificent day during Jammu DMC Feb 1979: In the morning general darshan Baba arrived on the dais in a very gracious mood. The program was going on as usual and everything was moving smoothly. After kaośikii, Baba was appreciating the dancers' style and form, and then He recounted in detail how He first gave kaośikii on 6th September 1978 in Patna.
https://anandamargauniversal.blogspot.com/
Baba’s discourse on history of kaośikii
Here following is an English summary of what Baba spoke that day in Hindi in Jammu.
Tandava is strictly forbidden for ladies; so for them something also should be done. And I thought that later on I will give something. Then again on 6 September, they requested. That time I thought that I will have to do something for them today. It was 11pm at night and I decided that there should be one type of dance which will be the medicine of several diseases as well as a good form of exercise. It should be beneficial in many regards.
At that moment, I immediately called 4 boys and I taught them how to dance [kaośikii]. When they were dancing I saw what type of effect it had on their glands, sub-glands, nerve cells, and overall body.
One thing I also saw was that by this dance their minds blossom also . The practice which makes the mind blossom in Samskrta is known as kaośikii. That is why I have given the name of this new dance as kaośikii.
This dance is a medicine for 22 diseases-- especially liver related problems & diseases, gallbladder troubles, hernias, urinary tract infections and weakness, obesity, piles, etc. And it also helps to strengthen the memory, give lustre to the skin, removes lethargy, and more. In this way I saw that kaośikii is a very good form of exercise benefiting all the organs, glands, and the entire body, from the head down to the foot. And, in addition, it is equally beneficial for boys also.
(English summary, Feb 26 '79, Jammu, MGD)
Conclusion
The above English summary of an unpublished Hindi discourse provides us with a unique perspective on the history of the kaośikii dance.
https://anandamargauniversal.blogspot.com/
In Him,
Niradhara
Kaośikii dance-- a remedy for diseases
Ananda Marga philosophy says, "It is found that human beings are sometimes affected by various diseases; and frequently they are faced with various difficulties with respect to their sa´dhana´. These impediments many or may not be major. For instance, small diseases like liver trouble may cause problems from time to time, and to remove these types of hindrances, I invented the kaośikii dance on the 6th of September 1978. This dance serves as an antidote to twenty-two types of diseases. All these are primarily meant to first of all vibrate the ectoplasmic stuff (citta´nu) which in turn is concentrated at a certain point touching the point of the soul, where Parama Purus´a resides." (1)
Ananda Marga philosophy says, "I invented kaos'ikii on September 6th [1978]. This dance is both an exercise, and a medicine for twenty-two diseases. It is a sort of panacea for almost all female diseases, and for many male diseases in younger boys. It is a medicine for most liver diseases. It assures safe deliveries for women, and also checks the advent of old age. It is a medicine." (2)
Ananda Marga ideology says, "Human beings suffer from various diseases which create minor obstacles in sa'dhana'. That is why I have invented the kaośikii dance on sixth September to fight against such petty bodily complaints such as liver disease, etc. which cause inconvenience in sa'dhana'. This dance is the panacea for twenty-two diseases." (3)
Kaośikii: link between Jiiva & Shiva
Ananda Marga philosophy says, "While dancing kaośikii one seeks to establish the link between the microcosm and the Macrocosm. This process is commonly known as mysticism. Kaośikii pertains to the innermost self of the individual. The self of the individual is hidden within the innermost kos'as, the layers of existence. Kaośikii dance is like the blossoming of the innermost self." (4)
Baba encourages all-- even kaośikii dancers
Ananda Marga ideology says, "Parama Purus'a is omnipotent, but He never discourages anybody. Suppose there is a display of Kaos'ikii dance before Parama Purus'a and the display is very, very bad. What will Parama Purus'a say? 'Very bad, very bad'? No, Parama Purus'a will say, 'Excellent, excellent.' He wants everybody to be encouraged to move towards the Supreme Goal of human life, the Supreme Desideratum of human existence." (5)
All should do kaośikii
Ananda Marga ideology says, "Kaos'ikii has become popular within a very short span of time. It was invented on the sixth of September 1978, not even one year ago. It should be done by boys as well as girls." (6)
Our three dances & their spheres
Ananda Marga ideology says, "You know Lalita Ma'rmika dance used during Kiirtana is a purely spiritual dance, and Kaos'ikii is a psycho-spiritual dance - it starts on the psychic level and culminates on the spiritual level. And Ta'n'd'ava is physico-psycho-spiritual." (7)
Unique description of kaośikii
Ananda Marga ideology says, "Dancing is an expression of human life. Kiirtana is an expression of the human mind. There are so many expressions of the human self. The particular nature of expression through dance and through Kiirtana which brings the inner self outward, that is, gives proper expression to the inner self--that particular nature of dance, together with Kiirtana, is called 'Kaos'ikii'. 'Kos'a' means 'inner self', and that's why this dance has immense value in the psychic and spiritual strata of human life." (8)
Let there be tandava & kaośikii competitions
Ananda Marga ideology says, "The practice of ta'n'd'ava that is prescribed for you [men] is conducive for physical and spiritual progress. In my opinion, as many people as possible should practise ta'n'd'ava. Those who are a bit old should practise it twice a day at the time of their spiritual practices. As far as young people are concerned, they may practise it as much as they can. There should be healthy competitions for them. The practice of ta'n'd'ava is not suitable for women because of certain physiological constraints. But they need something too."
"When in Patna, I invented a new type of dance-exercise for women, which I have called kaos'ikii nrtya. As for the benefits, kaos'ikii is as important as ta'n'd'ava. Kaos'ikii is beneficial for both men and women. Competition in ta'n'd'ava and kaos'ikii is very good and encouraging. I strongly support it. There should be competitions wherever there are Ananda Margis. There should be competitions even where there are no Ananda Margis. There is no harm in it; rather it is beneficial in all respects." (9)
The 22 benefits of kaośikii from a bhakta’s diary
The benefits of kaos'ikii nrtya were given as:
1. It exercises all the glands and limbs from head to foot.
2. It increases longevity.
3. It makes for easy delivery.
4. The spine will become flexible.
5. Arthritis of the spine, neck, waist and other joints will be removed.
6. Gout in the spine, neck, hands and waist will be lost.
7. The mind becomes strong and sharp.
8. Irregularities in menstruation will be cured.
9. Glandular secretions will become regulated.
10. Troubles in the bladder and urethra will be cured.
11. It gives control over the limbs.
12. It adds charm and shine to the face and skin.
13. It removes wrinkles.
14. It removes lethargy.
15. It cures insomnia.
16. It cures hysteria.
17. Fear complexes will be removed.
18. Hopelessness will be lost.
19. It helps in self-expression and develops one's potentiality.
20. Spinal pain, piles, hernia, hydrocele in men, nervous pain, nervous disability will be cured.
21. It cures kidney and gall bladder troubles, gastric trouble, dyspepsia, acidity, dysentery, syphilis, gonorrhea, obesity, thinness and liver diseases.
22. It increases the capacity to work.
Ideation of kaośikii for jinaniis
Baba says, 'Kaos'ikii: The two hands upraised and folded together represent, 'Now I am trying to establish a link with Parama Purus'a.' Both hands bending to the right indicate, 'I know the right way to request You.'The bending of the body should be at 45-degree angular projection. The leftward movement represents, 'I know how to fulfill Your demands.' The movement of bending in front suggests complete surrender. The backward bending represents, 'I am ready to face all troubles that may come.' The last 'ta', ta'' represents, 'O Lord, I repeat Your rhythm.'" (10)
References
1. A Few Problems Solved - 3, 9 Nov '78
2. Discourses on Tantra - 2, The Cosmic Father Has a Special Responsibility
3. Ananda Vacanamrtam - 4, 'Song, Dance and Music'
4. Abhimat V, 25
5. Ananda Vacanamrtam - 12. Two Hundred Mirrors
6. Ananda Vacanamrtam - 12, 18 May 1979 evening, Berlin
7. Ananda Vacanamrtam - 12, 11 May 1979 evening, Fiesch, Switzerland
8. Ananda Vacanamrtam - 12, 'The Value of Dance'
9. Ananda Vacanamrtam - 22, Táńd́ava and Kaośikii, 5 March 1984, Jammu
10. Ananda Vacanamrtam - 12, 'Dances and the Path of Vidya'
* * *
The below sections are entirely different topics, unrelated to the above material.
They stand on their own as points of interest.
* * *
== Section 2: Important Teaching ==
Universality of linguistic expression
In His below teaching, Sadguru guides us that there is no sense in quarreling over the point of language - i.e. which is superior or which is inferior etc. All languages have the same inherent value, and there are six stages of vocalization. That means to produce any sound or speak, there are six levels that are related with various cakras and glands. All the languages of the world are exactly the same through the first four stages.
For instance, if you are thirsty and thinking of a glass of water, then the initial urge to express this idea of wanting a glass of water emerges in seed form in the muladhara cakra. Second, the visualization of that image - i.e. a glass of water - comes in form at the svadisthana cakra. Third, the vital energy for that expression of wanting a glass of water is aroused in the manipura cakra. Fourth, the force needed for making that vocal expression occurs at the anahata cakra. Thus up through these first four stages, all languages are the same - it is the same process for each and every language.
That means whether one is speaking Chinese, German, Swahilii, or Tamil, if one wishes to ask for a glass of water, the process and vibration is exactly the same through these first four stages. Each speaker - regardless of their language base - must conceptualize the idea, visualise their thought, have the vital energy for that expression, and cultivate the force to speak etc. This is the same for all, regardless of their language base.
Only at the fifth stage - at the vishuddha cakra - when the sound vibration is first created in the larynx (vocal cords) do the various languages begin to differ. At that point some say water, some say panii, some say niiram, some say wasser, some say agua etc. And then finally, one speaks “I would like a glass of water” - with the help of the tongue and uvula in the sixth stage. So it is only in these last two stages, related with the actual production of sound, that the various languages differ from one another.
Thus the differences between one language and the next are quite superficial. The human desire and urge are the same throughout. It is akin to how from a medical perspective, all humans have the same set of organs that work in the same manner, yet on the outside one’s skin colour may vary. So that difference in skin tone is very superficial, as internally all human beings function medically in the same manner. Same is the case with various language groups - the inner workings of all these languages are the same.
Hence there is no sense in quarreling over the point of language - whether it be which is superior or which is inferior. Deep within, all languages are the same; there is an inner bond that unites all the languages. Just as all human beings are essentially one - originating from the same Cosmic source.
Baba's unique teaching about vocalization
Ananda Marga philosophy states, "The first stage of linguistic expression, that is, language in its potential form or seed form, lies dormant in the múládhára cakra, and it leads through successively clearer stages of manifestation to full-fledged linguistic expression. This primordial phase of linguistic expression is called paráshakti, the primordial phase of vocalization..."
"Here we are concerned with the ways of expression of language. All the potentialities of vocal expression lie dormant in the form of paráshakti at the múládhára cakra. Paráshakti is raised step by step and finally leads to the vocal expression of language."
"If vocalization remains dormant in seed form at the múládhára, it is neither audible nor perceivable in the practical world. The latent paráshakti has got to be awakened. Human beings visualize whatever they want to communicate, sometimes only for a fraction of a second, consciously or unconsciously. If they are already aware of the name and form of the visualized object, they can progress further in the process of expression, otherwise that name or form will continue to remain in the abstract world. This stage, in which one can mentally visualize what one is going to communicate, is the second stage in the process of vocalization. Its controlling point is the svádhiśt́hána cakra. The energy which causes the visualization is called pashyanti. Pashyanti is derived from the root verb drsh plus shatr, and means “that which is seeing”."
"This seeing is of two things: that which is original in the abstract world (its image is mostly indistinct) and that which is of a recurring nature in the abstract world, in other words, that which is reproduced from memory. Anubhútaviśayásampromaśah smrti. “After perceiving an object in the external world with the help of the eyes or any other external indriya, one often thinks about it.” The energy which helps one to visualize that thought is pashyanti shakti. This is the second stage of vocalization. Of course just to visualize the perceived object (with the help of pashyanti shakti) is not enough; other people cannot see your mental images or mental words, because those things belong to the psychic world. Linguistic expression pertains to the mundane world. Words are transmitted in the outer world through the medium of air or electro-magnetic waves, or some such medium. Mental images can be projected in the external world with the help of vital energy, but this sort of psychic projection is beyond the capacity of pashyanti shakti."
"Ideas in the psychic world gain momentum with the addition of vital energy. This process of coordination must be consolidated step by step before ideas can be expressed through words in the external world. The human body’s energy, or indrashakti, or luminous factor, is located in the mańipura cakra. The mańipura cakra maintains the body’s physical balance. When pashyanti shakti comes to the mańipura cakra and there receives the assistance of vital energy, it becomes madhyamá shakti. The controlling point of madhyamá shakti is the mańipura cakra or navel area.
"To externalize an idea one has to apply physical energy (philosophically, this energy is called indra). We can call this stage the first expression of the sound tanmátra. Although this sound tanmátra is not audible to the external ear because it has not yet been vocalized, it does have internal sound."
"The transformation of madhyamá shakti into the form of speech takes place at a point between the mańipura and vishuddha cakras. This is a state of calamánatá [mobility]. The force which functions between the mańipura and vishuddha cakras, trying to give vocal expression to mental ideas, is called dyotamáná."
"Dyotamáná shakti is expressed as a relentless effort to transform idea into language. If, however, in this process of transformation, the mind is affected by fear or by any other instinct, there will be only a partial or incoherent vocal expression."
In the dyotamáná stage, if the idea is not metamorphosed into a corresponding picture, or if there is any defect in the area between the mańipura and vishuddha cakras, or if there is no proper command over language, then vocal expression is bound to be affected. In such cases people are unable to give linguistic expression to things that they know. They say, “The ideas in my mind but I just can’t find the words to express it.”
"The dyotamáná stage exists in collective life, also. Ever since the dawn of human civilization, human beings have been searching for ways to fulfil their various desires: the desire to fly, the desire to move fast over land, the desire to reach the distant planets, the desire to cross the oceans. Sometimes they have succeeded, sometimes they have failed. But even after failure, they have not given up the struggle, but have persisted with renewed vigour. We are still waiting for that glorious day to arrive when we will be able to give a full and rich expression to the vast world of human thought. Today, however, we can only express a small fraction of the vast world of ideas."
"The vocal cord lies in the area of the vishuddha cakra. It is the organ responsible for transforming abstract idea into vocal expression. The energy which helps in this task is vaekharii shakti. Vaekharii shakti is the energy which causes ideas to take the form of language. It is the fifth stage in the process of vocal expression. When someone talks too much, this is the uncontrolled expression of vaekharii shakti. Some pandits, in order to prove their intellectual might through intellectual extravaganza, indulge in such unnecessary vocalization. It has been said..."
"Neither individual life nor collective life is benefited from such useless talk. Pandits may receive temporary applause but they ultimately gain nothing but a big zero."
"Even after an idea gets metamorphosed into language, if there is the slightest defect in the uvula, vocal expression will be disturbed. (The Sanskrit equivalents of “uvula” are lambiká, galashuńd́iká, and áljihvá.) Even if one articulates properly, one will not be able to speak correctly if there is any defect in the uvula."
"The energy through which the exact language is conveyed to the human ears is called shrutigocará. This is the last stage in the process of vocalization. The sound ae is the acoustic root of the six stages of vocalization: pará, pashyanti, madhyamá, dyotamáná, vaekharii, and shrutigocará." (1)
Reference
1. Ananda Marga Philosophy in a Nutshell - 8, The Acoustic Roots of the Indo-Aryan Alphabet
== Section: Important Teaching ==
Follow DC chant: oppose all groupism
Ananda Marga ideology says, “Just see the case of air, light, water, respirations and everything. The need for these things is the same for all individuals. There have been no differentiations. These differentiations that we see in society are creations of vested interests, creations of depraved persons, of degenerated, immoral people. So you should not support these actional defects of immoral persons. You should follow the divine vibrational system, that is, you must not try to find any differentiations among individuals. “Devábhágaḿ yathápúrve saḿjánáná upásate.” It is the wont of divine expressions that there be no differentiations, no class of exploiters and exploited. That is, this wont of not creating any differentiations was not only their duty, it was their upásaná, the desideratum of their existential march.”
Ananda Marga ideology ways, “Samáni va ákuti”. When everything cometh from the same source, from the same Progenitor, and when finally everything goeth back to the same desideratum, there must be the same aspirations, the same longing, in the heart of each and every individual. But due to the depraving actions of immoral people, those exploited, those downtrodden people are forced to forget their goal. They are drifted away from the desideratum of their life. This should not be done. Everybody should get the chance to develop their natural longings for Him.” (1)
Reference
1. Ananda Vacanamrtam - 3, Saḿgacchadhvaḿ
== Section 3: Links ==
Postings to Read
Postings to Read
Baba gave me proof
Rule for donating money + Show of pracara
Bathing: dharmic system
AM's practical foundation
