Dr. Dipankar Khanna | Manipal Academy of Higher Education (original) (raw)
Papers by Dr. Dipankar Khanna
PsyArXiv: arXiv is a trademark of Cornell University, used under license., Oct 19, 2021
: Storytelling is touted as an extremely effective medium of communication and selling one’s view... more : Storytelling is touted as an extremely effective medium of communication and selling one’s viewpoint to others. There is a surfeit of resources advocating and teaching storytelling techniques. It is believed that the narrative is an effective and easier way help sell products and services, attract investors, build organizational brands, cultivate social correctness, build inter-cultural understanding, run advertising campaign and express entrepreneurial frames. However, the dilemma or predicament of communicating the truth in organizations is frequently between truth-speak and ‘telling a good story or ‘spinning a clever yarn’. Selling ideas, marketing products, obtaining buy-ins from investors can involve ‘stretching the truth’. Recognizing the axiology of this cultural malaise on one hand and exploring the positive influence that emotional learning through stories can have on the moral, ethical, and character development needs of children, this paper sees an imperative to posit storytelling as a dominant, pedagogic tools to build morals, ethics, character, and capacity for kindness in children.
Journal of Dharma studies, Jun 10, 2019
Across cultures, in most parts of the world, one come across traditions that employ unique and un... more Across cultures, in most parts of the world, one come across traditions that employ unique and unusual pedagogies as skilful means (termed as upāya in Sanskrit) to powerfully craft and re-craft our lives and in realizing the self. Using creative meaning-making, individuals evoke wholesome ideas and then motivate their personal selves to perform to them. The Vajranŕtyam or Cham is one of the unique expressions that has been employed from immemorial times to holistically convey the phenomenon of the dance form as a skilful spiritual tool. While the authors recognize that other cultures too engage in spiritual dances as skilful means, here they dwell in greater length on Cham dance or the Tibetan Lama dance, which is performed in the traditional Vajrayana or Tantric schools of Buddhism in India, Bhutan, Mongolia, Nepal, and Tibet. With the advent of various contemporary influences, there is an observable change in the attitude towards the traditional, impacting its pure form. Whether it is undesirable or acceptable is a matter of reflection in another place, yet there are some observations that authors choose to share in the last section of this paper. Also, arising from several yet similar cultural influences, the purists voice accusation of dilution and warn that the traditional Cham dance may be slowly dying and morphing into tourist-friendly theatrics that is pleasing to the eye. In this paper, the authors attempt to elucidate its historical and contemporary role and place, to instigate an inquiry that hopefully provides a robust narrative, rich in value, and with a substantive interpretation from which lessons could be culled or harvested. Authors look at Vajranŕtyam in a generic wisdom-method space cutting across religious and social-cultural spaces. They also seek possible alignments and connect with science, essentially to study, explore, propagate core beneficiaries of the Dharma dance in terms of a sacred mindful and meditative art form.
Journal of Indian Council of Philosophical Research
This paper looks at frameworks for the practice of moral and ethical values for children, drawn f... more This paper looks at frameworks for the practice of moral and ethical values for children, drawn from Yoga and Buddhist Philosophies. Verily the purpose is to inculcate a repository of thought and behaviour through which they align moral and ethical behaviours by becoming important cogs in establishing harmony in the world that we exist. Harmony between one child and another child, harmony between children and their families, harmony between the families and larger society and harmony between society and other sentient beings and life forms is what constitutes cosmic-harmony. In this sense, Confucius’ triadic cosmic-harmony and the timeless Vedic Ṛta are not merely a philosophical thought or idea envisaged in ivory towers but real-time experiencing or darsana. This is realized through disciplined individual behaviours in balancing of our purusharthas with our dharma; aligning these with a sense of universal responsibility out of care and concern for one another. This would ensure in ...
: Storytelling is touted as an extremely effective medium of communication and selling one’s view... more : Storytelling is touted as an extremely effective medium of communication and selling one’s viewpoint to others. There is a surfeit of resources advocating and teaching storytelling techniques. It is believed that the narrative is an effective and easier way help sell products and services, attract investors, build organizational brands, cultivate social correctness, build inter-cultural understanding, run advertising campaign and express entrepreneurial frames. However, the dilemma or predicament of communicating the truth in organizations is frequently between truth-speak and ‘telling a good story or ‘spinning a clever yarn’. Selling ideas, marketing products, obtaining buy-ins from investors can involve ‘stretching the truth’. Recognizing the axiology of this cultural malaise on one hand and exploring the positive influence that emotional learning through stories can have on the moral, ethical, and character development needs of children, this paper sees an imperative to posit storytelling as a dominant, pedagogic tools to build morals, ethics, character, and capacity for kindness in children.
Journal of Dharma Studies, 2019
Across cultures, in most parts of the world, one come across traditions that employ unique and un... more Across cultures, in most parts of the world, one come across traditions that employ unique and unusual pedagogies as skilful means (termed as upāya in Sanskrit) to powerfully craft and re-craft our lives and in realizing the self. Using creative meaning-making, individuals evoke wholesome ideas and then motivate their personal selves to perform to them. The Vajranŕtyam or Cham is one of the unique expressions that has been employed from immemorial times to holistically convey the phenomenon of the dance form as a skilful spiritual tool. While the authors recognize that other cultures too engage in spiritual dances as skilful means, here they dwell in greater length on Cham dance or the Tibetan Lama dance, which is performed in the traditional Vajrayana or Tantric schools of Buddhism in India, Bhutan, Mongolia, Nepal, and Tibet. With the advent of various contemporary influences, there is an observable change in the attitude towards the traditional, impacting its pure form. Whether it is undesirable or acceptable is a matter of reflection in another place, yet there are some observations that authors choose to share in the last section of this paper. Also, arising from several yet similar cultural influences, the purists voice accusation of dilution and warn that the traditional Cham dance may be slowly dying and morphing into tourist-friendly theatrics that is pleasing to the eye. In this paper, the authors attempt to elucidate its historical and contemporary role and place, to instigate an inquiry that hopefully provides a robust narrative, rich in value, and with a substantive interpretation from which lessons could be culled or harvested. Authors look at Vajranŕtyam in a generic wisdom-method space cutting across religious and social-cultural spaces. They also seek possible alignments and connect with science, essentially to study, explore, propagate core beneficiaries of the Dharma dance in terms of a sacred mindful and meditative art form.
Indexing of data for Happiness, Sadness, Feeling Hurt and Heroism (Acting Creatively to create au... more Indexing of data for Happiness, Sadness, Feeling Hurt and Heroism (Acting Creatively to create authentic happiness for others and oneself by practicing Moral and Ethical codes (Yama and Niyama).
Samyak Sambodh , 2019
If we attempt to describe the three paths based on their scope and outcomes we can see a structur... more If we attempt to describe the three paths based on their scope and outcomes we can see a structure that helping the spiritual aspirant’s travel on the path of self-realization. These can be categorized as disciplined-vinaya efforts directed towards personal liberation and correspond to the Hinayana; the generation of altruistic-sutric intentions with an enlightening attitude to free all sentient beings from the cycle existence due to the shortcomings of samsara and is the Mahayana path, and ; the application of abhidharmic-metaphysics and the tantric-esoteric communion through deity yoga through arising in the illusory body under the practices and processes of the Vajrayana or esoteric-tantric path.
Journal of Dharma Studies https://doi.org/10.1007/s42240-019-00043-0
Abstract Across cultures, in most parts of the world, one come across traditions that employ uniq... more Abstract Across cultures, in most parts of the world, one come across traditions that employ unique and unusual pedagogies as skilful means (termed as upāya in Sanskrit) to powerfully craft and re-craft our lives and in realizing the self. Using creative meaning-making,individualsevokewholesomeideasandthenmotivatetheirpersonalselves to perform to them. The VajranŕtyamorChamis one of the unique expressions that has been employed from immemorial times to holistically convey the phenomenon of the dance formasa skilful spiritual tool. While the authors recognize that other cultures too engage in spiritual dances as skilful means, here they dwell in greater length on Cham dance or the Tibetan Lama dance, which is performed in the traditional Vajrayana or Tantric schools of Buddhism in India, Bhutan, Mongolia, Nepal, and Tibet. With the adventofvarious contemporaryinfluences,thereisanobservablechangeintheattitude towards the traditional, impacting its pure form. Whether it is undesirable or acceptable is a matter of reflection in another place, yet there are some observations that authors choose to share in the last section of this paper. Also, arising from several yet similar cultural influences, the purists voice accusation of dilution and warn that the traditional Cham dance may be slowly dying and morphing into tourist-friendly theatrics that is pleasing to the eye. In this paper, the authors attempt to elucidate its historical and contemporary role and place, to instigate an inquiry that hopefully provides a robust narrative, rich in value, and with a substantive interpretation from which lessons could be culled or harvested. Authors look atVajranŕtyamin a generic wisdom-method space cutting across religious and social-cultural spaces. They also seek possible alignments and connect with science, essentially to study, explore, propagate core beneficiaries of the Dharma dance in terms of a sacred mindful and meditative art form.
Keywords Cham.Vajranŕtyam.Lamadance.Dharma.Meditation.Buddhism. Phenomenology
If we are to consider the aspect of giving against receiving we will see that fundamentally, givi... more If we are to consider the aspect of giving against receiving we will see that fundamentally, giving is the most naturally occurring phenomenon to our true nature. For example breathing in requires the efforts and synchronization of asset of muscles but in order to exhale or breathe out no effort is required at all. The fruit laden tree realizes the significance if giving-'letting-go'. As soon as the fruit starts to get over ripe and begins to rot it is dropped. For letting it remain there would result in the rot spreading deep down to the roots, the very base of its existence. The tree thus stems the rot by giving-up and letting-go its ripe fruits. Little do we realize the manner in which our material acquisitions keep gnawing away at our vitals and making hollow the very essence of our being. Today our thinking patterns are at best sensate and materialistic-short term and immediate. Consequently we suffer the ill effects of this attitude of ours of clinging rather than letting-go. The result is accumulation of tension as against relaxation, tranquility and peace. Just think of a situation in our own body. Suppose a certain part within us decides it wants to keep all the blood with it self and does not want any blood to flow to any other part of the body. What do you think is going to happen? The blood in that part of the body will begin to accumulate and clot. It will become venous blood and turn into poison. The effect of this poison will then get passed on to other parts of the body till the whole body will become diseased and sick. We are strong and healthy when our circulation is smooth and in order. With proper circulation of blood in our system we are assured that oxygen and life force gets passed on from cell to cell. This circulation or passing on of positive energy, both, rejuvenates us and sustains us. When we fall sick or when old age catches up with us, the movement of our prana or life force and circulation becomes sluggish. That is why the companions of old age are sickness and death. There are other lessons to be learnt from nature as well. What happens when the fruits ripen? The tree automatically drops it. Imagine if the tree decided not to give up the fruit. The fruit would over ripen and then slowly start to rot. From the individual fruit the rotting would spread throughout tree. Right down to the roots and then the tree would die and topple down.
What does Har Har Mahadev mean? We all know it is like a mantra to invoke Shivaji—one of the thre... more What does Har Har Mahadev mean? We all know it is like a mantra to invoke Shivaji—one of the three principal deities of the Hindu pantheon. While as Lokeshwara he is compassion personified; he is wrathful and strident too, invoking rajas. 'Har' means to destroy, annihilate and overcome' foes through the power of " Maha' or supreme, great, omnipotent or all powering 'deva' or God. Since our world is unceasingly tempting and provoking us with our thoughts and feelings and we face troubles in many circumstances we find ourselves invoking 'call to action' chants. Shiva ji is a truly brave spiritual foe-destroyer, but he does not seek to destroy other people, or their religion, their beliefs, or way of living. He combats the negative forces we leash out from our own attachments, success and failures which lead to arrogance, greed, anger and other lethal and unhealthy feelings. Let me take you back to a mythological time. When devas and asuras teamed up to churn the ocean to extract nectar that gave magical powers and immortality, they pulled and heaved on the shesnaga (serpent king) Vasukhi using it as the churning string and Mandara the celestial mountain as the churning stick on top of which lay the divine sustainer lord Visnu. The experiment of obtaining the nectar and other ratnas or treasures was successful. However what the devas and the asuras were unprepared for and which even Brahma the creator of the universe and the sustainer Visnu could not handle was the by-product from the Samudra Manthan or churning of the ocean kalakuta
The premise of creativity and cognition is a paradox in itself. This is because, cognition being ... more The premise of creativity and cognition is a paradox in itself. This is because, cognition being an aspect of our consciousness is inherently in a state of flux-moving with different rhythms, decibels, frequencies-constantly changing, merging, co-merging, recreating itself – expressing varied qualities, states; and expressing varied manifestations and innumerable avataras. However creativity of things of beauty alone is a restrictive (reductionist) and a misnomer. Consequently it can be debilitating, and not necessarily holistic, sustainable nor ecological. We need to align with a primary understanding that beauty is a subjective reality as per the thinking feeling, beliefs, values and other programs inherent in the beholder; but what is sustainable is both scientific, moral.
Conference Presentations by Dr. Dipankar Khanna
IIAS, Shimla, 2017
In India, as in other parts of the world, we live among traditions which used distinctive means a... more In India, as in other parts of the world, we live among traditions which used distinctive means as a tool for higher transformation of being and becoming, and for the realization of one's Self. Using creative aspect of one's existential dimension is one such way. Realizing this, few ancient cultures created a tradition of using the creative arts as a meditative practice to glimpse and touch the divine within. One such extraordinary, unique and intense form of art, which is relevant, not only in the cultural context but also in the spiritual lineage of our world is Vajra Nrithyam or Cham Dance (or Lama Dance)-a sacred Buddhist dance ritual stemmed from traditional Tantric schools. Having begun in India, slowly the Tantric dance forms of Vajra Nrithyam are lost and forgotten in the land of origin and now exist only in the context of Tibetan Buddhism, and in geographies associated with it. With the introduction of various contemporary forms of arts and ideas, there is a change in the attitude of modern people towards traditional aspects. With contemporization, the original forms of art are diluted and losing their value to today's cultural methods and the modern mindset of people. Also, because of various other reasons, there is a growing feeling among the purists that Vajra Nrithyam is slowly dying out as a spiritual art form and may become extinct in a few decades. Hence, we believe that only when we understand the core/meta purpose and the reason why ancient traditions conceived this dance in its original form, we can value and preserve the heart advice and the spiritual experiencing that emanates from it. In this context, our emphasis is to bring in the role of science as a tool to revive its original glory. Extending this work, in future, we would also like to make a documentary film on Vajra Nrithyam to get a 360 degree perspective of it with all its components and aspects.
In India, as in other parts of the world, we live among traditions which used distinctive means a... more In India, as in other parts of the world, we live among traditions which used distinctive means as a tool for higher transformation of being and becoming, and for the realization of one’s Self. Using creative aspect of one’s existential dimension is one such way. Realizing this, few ancient cultures created a tradition of using the creative arts as a meditative practice to glimpse and touch the divine within. One such extraordinary, unique and intense form of art, which is relevant, not only in the cultural context but also in the spiritual lineage of our world is Vajra Nrithyam or Cham Dance (or Lama Dance) – a sacred Buddhist dance ritual stemmed from traditional Tantric schools. Having begun in India, slowly the Tantric dance forms of Vajra Nrithyam are lost and forgotten in the land of origin and now exist only in the context of Tibetan Buddhism, and in geographies associated with it. With the introduction of various contemporary forms of arts and ideas, there is a change in the attitude of modern people towards traditional aspects. With contemporization, the original forms of art are diluted and losing their value to today’s cultural methods and the modern mindset of people. Also, because of various other reasons, there is a growing feeling among the purists that Vajra Nrithyam is slowly dying out as a spiritual art form and may become extinct in a few decades. Hence, we believe that only when we understand the core/meta purpose and the reason why ancient traditions conceived this dance in its original form, we can value and preserve the heart advice and the spiritual experiencing that emanates from it. In this context, our emphasis is to bring in the role of science as a tool to revive its original glory. Extending this work, in future, we would also like to make a documentary film on Vajra Nrithyam to get a 360 degree perspective of it with all its components and aspects.
Drafts by Dr. Dipankar Khanna
Dwelling free means to follow the divine impulse, to live in a way that is not restricted to what... more Dwelling free means to follow the divine impulse, to live in a way that is not restricted to what others say and insist on, but to follow one's broadest, deepest sense about how to be, to grow, and live. Clarissa Pinkola Estes In his seminal work "To Have or To Be" Fromm spoke of the 'having mode' and the 'being mode'. James March too points towards a distinction between externally motivated working for specific 'accomplishments' or 'good consequences' versus following the energy arising from with-in's one's identity. According to March, cultivation, formation, recognition and giving oneself the independence to dance with this self-belief provides the freedom to make mistakes and to appear fearlessly foolish. This trade-off between consequential thinking and identity thinking enables us to practice the spiritual audacity of a Don Quixote or a Forrest Gump. It is imperative not to label this state of moving with one's self-belief and identity as an unproductive space. Instead the energy comes from the union of both passion and disciplined application. Remember Forrest Gump with his unusual destiny-like the unpredictable feather floating around him? Yet everything that Forrest does is with a sense of purpose-albeit, a differently-enabled identity which is disarmingly self-accepting and validating of his limited shortcomings; yet preciously studded with a dogged-discipline. There is imagination, persistence and joy as Forrest ventures out of his adolescent and familiar cocoon. There is a unusual imagination as he makes his choices when to run or pursue; there is persistence as he strives to fulfil his dharma-his natural duties, towards himself, Bubba and Bubba's family, Lieutenant Dan, his mother, his love Jenny and his son Forrest Junior; there is visible joy manifest in things he does like when he is running away from the school bullies it is through his experiencing of joy that he is able to bring succour and joy in the lives the significant others. Clarissa Pinkola Estes describes …"It is a journey to find a truer selfhood; one that cannot be easily corrupted by the outer world, or by time. The impulse fulfills a longing to unearth and reveal one's greatest and deepest shadows and gifts. It provides the balances required for a person to feel one thing especially-contentment". Therefore in the outcomes of many myths, this neglected self so often prove to be the trove of heroic treasures-just right for the conflicts and courageous efforts needed to meet aggressive challenges, and to give birth to the more tender, kinder, elegant and more strengthened new self. We all understand intellectually the differences between the vital needs of our expansive soul that call us to embark on a hero's journey, and the reflexive narcissism that leads us towards acute self-absorption. If we were able to stop to reflect on where from most of our unwholesomeness and misery arises it is from our habitual patterns of self-absorption. Dismally however, most of the time our mindfulness wanders off and make us participate in dramas and in characters, to do things, that are not related to our desires of who we
PsyArXiv: arXiv is a trademark of Cornell University, used under license., Oct 19, 2021
: Storytelling is touted as an extremely effective medium of communication and selling one’s view... more : Storytelling is touted as an extremely effective medium of communication and selling one’s viewpoint to others. There is a surfeit of resources advocating and teaching storytelling techniques. It is believed that the narrative is an effective and easier way help sell products and services, attract investors, build organizational brands, cultivate social correctness, build inter-cultural understanding, run advertising campaign and express entrepreneurial frames. However, the dilemma or predicament of communicating the truth in organizations is frequently between truth-speak and ‘telling a good story or ‘spinning a clever yarn’. Selling ideas, marketing products, obtaining buy-ins from investors can involve ‘stretching the truth’. Recognizing the axiology of this cultural malaise on one hand and exploring the positive influence that emotional learning through stories can have on the moral, ethical, and character development needs of children, this paper sees an imperative to posit storytelling as a dominant, pedagogic tools to build morals, ethics, character, and capacity for kindness in children.
Journal of Dharma studies, Jun 10, 2019
Across cultures, in most parts of the world, one come across traditions that employ unique and un... more Across cultures, in most parts of the world, one come across traditions that employ unique and unusual pedagogies as skilful means (termed as upāya in Sanskrit) to powerfully craft and re-craft our lives and in realizing the self. Using creative meaning-making, individuals evoke wholesome ideas and then motivate their personal selves to perform to them. The Vajranŕtyam or Cham is one of the unique expressions that has been employed from immemorial times to holistically convey the phenomenon of the dance form as a skilful spiritual tool. While the authors recognize that other cultures too engage in spiritual dances as skilful means, here they dwell in greater length on Cham dance or the Tibetan Lama dance, which is performed in the traditional Vajrayana or Tantric schools of Buddhism in India, Bhutan, Mongolia, Nepal, and Tibet. With the advent of various contemporary influences, there is an observable change in the attitude towards the traditional, impacting its pure form. Whether it is undesirable or acceptable is a matter of reflection in another place, yet there are some observations that authors choose to share in the last section of this paper. Also, arising from several yet similar cultural influences, the purists voice accusation of dilution and warn that the traditional Cham dance may be slowly dying and morphing into tourist-friendly theatrics that is pleasing to the eye. In this paper, the authors attempt to elucidate its historical and contemporary role and place, to instigate an inquiry that hopefully provides a robust narrative, rich in value, and with a substantive interpretation from which lessons could be culled or harvested. Authors look at Vajranŕtyam in a generic wisdom-method space cutting across religious and social-cultural spaces. They also seek possible alignments and connect with science, essentially to study, explore, propagate core beneficiaries of the Dharma dance in terms of a sacred mindful and meditative art form.
Journal of Indian Council of Philosophical Research
This paper looks at frameworks for the practice of moral and ethical values for children, drawn f... more This paper looks at frameworks for the practice of moral and ethical values for children, drawn from Yoga and Buddhist Philosophies. Verily the purpose is to inculcate a repository of thought and behaviour through which they align moral and ethical behaviours by becoming important cogs in establishing harmony in the world that we exist. Harmony between one child and another child, harmony between children and their families, harmony between the families and larger society and harmony between society and other sentient beings and life forms is what constitutes cosmic-harmony. In this sense, Confucius’ triadic cosmic-harmony and the timeless Vedic Ṛta are not merely a philosophical thought or idea envisaged in ivory towers but real-time experiencing or darsana. This is realized through disciplined individual behaviours in balancing of our purusharthas with our dharma; aligning these with a sense of universal responsibility out of care and concern for one another. This would ensure in ...
: Storytelling is touted as an extremely effective medium of communication and selling one’s view... more : Storytelling is touted as an extremely effective medium of communication and selling one’s viewpoint to others. There is a surfeit of resources advocating and teaching storytelling techniques. It is believed that the narrative is an effective and easier way help sell products and services, attract investors, build organizational brands, cultivate social correctness, build inter-cultural understanding, run advertising campaign and express entrepreneurial frames. However, the dilemma or predicament of communicating the truth in organizations is frequently between truth-speak and ‘telling a good story or ‘spinning a clever yarn’. Selling ideas, marketing products, obtaining buy-ins from investors can involve ‘stretching the truth’. Recognizing the axiology of this cultural malaise on one hand and exploring the positive influence that emotional learning through stories can have on the moral, ethical, and character development needs of children, this paper sees an imperative to posit storytelling as a dominant, pedagogic tools to build morals, ethics, character, and capacity for kindness in children.
Journal of Dharma Studies, 2019
Across cultures, in most parts of the world, one come across traditions that employ unique and un... more Across cultures, in most parts of the world, one come across traditions that employ unique and unusual pedagogies as skilful means (termed as upāya in Sanskrit) to powerfully craft and re-craft our lives and in realizing the self. Using creative meaning-making, individuals evoke wholesome ideas and then motivate their personal selves to perform to them. The Vajranŕtyam or Cham is one of the unique expressions that has been employed from immemorial times to holistically convey the phenomenon of the dance form as a skilful spiritual tool. While the authors recognize that other cultures too engage in spiritual dances as skilful means, here they dwell in greater length on Cham dance or the Tibetan Lama dance, which is performed in the traditional Vajrayana or Tantric schools of Buddhism in India, Bhutan, Mongolia, Nepal, and Tibet. With the advent of various contemporary influences, there is an observable change in the attitude towards the traditional, impacting its pure form. Whether it is undesirable or acceptable is a matter of reflection in another place, yet there are some observations that authors choose to share in the last section of this paper. Also, arising from several yet similar cultural influences, the purists voice accusation of dilution and warn that the traditional Cham dance may be slowly dying and morphing into tourist-friendly theatrics that is pleasing to the eye. In this paper, the authors attempt to elucidate its historical and contemporary role and place, to instigate an inquiry that hopefully provides a robust narrative, rich in value, and with a substantive interpretation from which lessons could be culled or harvested. Authors look at Vajranŕtyam in a generic wisdom-method space cutting across religious and social-cultural spaces. They also seek possible alignments and connect with science, essentially to study, explore, propagate core beneficiaries of the Dharma dance in terms of a sacred mindful and meditative art form.
Indexing of data for Happiness, Sadness, Feeling Hurt and Heroism (Acting Creatively to create au... more Indexing of data for Happiness, Sadness, Feeling Hurt and Heroism (Acting Creatively to create authentic happiness for others and oneself by practicing Moral and Ethical codes (Yama and Niyama).
Samyak Sambodh , 2019
If we attempt to describe the three paths based on their scope and outcomes we can see a structur... more If we attempt to describe the three paths based on their scope and outcomes we can see a structure that helping the spiritual aspirant’s travel on the path of self-realization. These can be categorized as disciplined-vinaya efforts directed towards personal liberation and correspond to the Hinayana; the generation of altruistic-sutric intentions with an enlightening attitude to free all sentient beings from the cycle existence due to the shortcomings of samsara and is the Mahayana path, and ; the application of abhidharmic-metaphysics and the tantric-esoteric communion through deity yoga through arising in the illusory body under the practices and processes of the Vajrayana or esoteric-tantric path.
Journal of Dharma Studies https://doi.org/10.1007/s42240-019-00043-0
Abstract Across cultures, in most parts of the world, one come across traditions that employ uniq... more Abstract Across cultures, in most parts of the world, one come across traditions that employ unique and unusual pedagogies as skilful means (termed as upāya in Sanskrit) to powerfully craft and re-craft our lives and in realizing the self. Using creative meaning-making,individualsevokewholesomeideasandthenmotivatetheirpersonalselves to perform to them. The VajranŕtyamorChamis one of the unique expressions that has been employed from immemorial times to holistically convey the phenomenon of the dance formasa skilful spiritual tool. While the authors recognize that other cultures too engage in spiritual dances as skilful means, here they dwell in greater length on Cham dance or the Tibetan Lama dance, which is performed in the traditional Vajrayana or Tantric schools of Buddhism in India, Bhutan, Mongolia, Nepal, and Tibet. With the adventofvarious contemporaryinfluences,thereisanobservablechangeintheattitude towards the traditional, impacting its pure form. Whether it is undesirable or acceptable is a matter of reflection in another place, yet there are some observations that authors choose to share in the last section of this paper. Also, arising from several yet similar cultural influences, the purists voice accusation of dilution and warn that the traditional Cham dance may be slowly dying and morphing into tourist-friendly theatrics that is pleasing to the eye. In this paper, the authors attempt to elucidate its historical and contemporary role and place, to instigate an inquiry that hopefully provides a robust narrative, rich in value, and with a substantive interpretation from which lessons could be culled or harvested. Authors look atVajranŕtyamin a generic wisdom-method space cutting across religious and social-cultural spaces. They also seek possible alignments and connect with science, essentially to study, explore, propagate core beneficiaries of the Dharma dance in terms of a sacred mindful and meditative art form.
Keywords Cham.Vajranŕtyam.Lamadance.Dharma.Meditation.Buddhism. Phenomenology
If we are to consider the aspect of giving against receiving we will see that fundamentally, givi... more If we are to consider the aspect of giving against receiving we will see that fundamentally, giving is the most naturally occurring phenomenon to our true nature. For example breathing in requires the efforts and synchronization of asset of muscles but in order to exhale or breathe out no effort is required at all. The fruit laden tree realizes the significance if giving-'letting-go'. As soon as the fruit starts to get over ripe and begins to rot it is dropped. For letting it remain there would result in the rot spreading deep down to the roots, the very base of its existence. The tree thus stems the rot by giving-up and letting-go its ripe fruits. Little do we realize the manner in which our material acquisitions keep gnawing away at our vitals and making hollow the very essence of our being. Today our thinking patterns are at best sensate and materialistic-short term and immediate. Consequently we suffer the ill effects of this attitude of ours of clinging rather than letting-go. The result is accumulation of tension as against relaxation, tranquility and peace. Just think of a situation in our own body. Suppose a certain part within us decides it wants to keep all the blood with it self and does not want any blood to flow to any other part of the body. What do you think is going to happen? The blood in that part of the body will begin to accumulate and clot. It will become venous blood and turn into poison. The effect of this poison will then get passed on to other parts of the body till the whole body will become diseased and sick. We are strong and healthy when our circulation is smooth and in order. With proper circulation of blood in our system we are assured that oxygen and life force gets passed on from cell to cell. This circulation or passing on of positive energy, both, rejuvenates us and sustains us. When we fall sick or when old age catches up with us, the movement of our prana or life force and circulation becomes sluggish. That is why the companions of old age are sickness and death. There are other lessons to be learnt from nature as well. What happens when the fruits ripen? The tree automatically drops it. Imagine if the tree decided not to give up the fruit. The fruit would over ripen and then slowly start to rot. From the individual fruit the rotting would spread throughout tree. Right down to the roots and then the tree would die and topple down.
What does Har Har Mahadev mean? We all know it is like a mantra to invoke Shivaji—one of the thre... more What does Har Har Mahadev mean? We all know it is like a mantra to invoke Shivaji—one of the three principal deities of the Hindu pantheon. While as Lokeshwara he is compassion personified; he is wrathful and strident too, invoking rajas. 'Har' means to destroy, annihilate and overcome' foes through the power of " Maha' or supreme, great, omnipotent or all powering 'deva' or God. Since our world is unceasingly tempting and provoking us with our thoughts and feelings and we face troubles in many circumstances we find ourselves invoking 'call to action' chants. Shiva ji is a truly brave spiritual foe-destroyer, but he does not seek to destroy other people, or their religion, their beliefs, or way of living. He combats the negative forces we leash out from our own attachments, success and failures which lead to arrogance, greed, anger and other lethal and unhealthy feelings. Let me take you back to a mythological time. When devas and asuras teamed up to churn the ocean to extract nectar that gave magical powers and immortality, they pulled and heaved on the shesnaga (serpent king) Vasukhi using it as the churning string and Mandara the celestial mountain as the churning stick on top of which lay the divine sustainer lord Visnu. The experiment of obtaining the nectar and other ratnas or treasures was successful. However what the devas and the asuras were unprepared for and which even Brahma the creator of the universe and the sustainer Visnu could not handle was the by-product from the Samudra Manthan or churning of the ocean kalakuta
The premise of creativity and cognition is a paradox in itself. This is because, cognition being ... more The premise of creativity and cognition is a paradox in itself. This is because, cognition being an aspect of our consciousness is inherently in a state of flux-moving with different rhythms, decibels, frequencies-constantly changing, merging, co-merging, recreating itself – expressing varied qualities, states; and expressing varied manifestations and innumerable avataras. However creativity of things of beauty alone is a restrictive (reductionist) and a misnomer. Consequently it can be debilitating, and not necessarily holistic, sustainable nor ecological. We need to align with a primary understanding that beauty is a subjective reality as per the thinking feeling, beliefs, values and other programs inherent in the beholder; but what is sustainable is both scientific, moral.
IIAS, Shimla, 2017
In India, as in other parts of the world, we live among traditions which used distinctive means a... more In India, as in other parts of the world, we live among traditions which used distinctive means as a tool for higher transformation of being and becoming, and for the realization of one's Self. Using creative aspect of one's existential dimension is one such way. Realizing this, few ancient cultures created a tradition of using the creative arts as a meditative practice to glimpse and touch the divine within. One such extraordinary, unique and intense form of art, which is relevant, not only in the cultural context but also in the spiritual lineage of our world is Vajra Nrithyam or Cham Dance (or Lama Dance)-a sacred Buddhist dance ritual stemmed from traditional Tantric schools. Having begun in India, slowly the Tantric dance forms of Vajra Nrithyam are lost and forgotten in the land of origin and now exist only in the context of Tibetan Buddhism, and in geographies associated with it. With the introduction of various contemporary forms of arts and ideas, there is a change in the attitude of modern people towards traditional aspects. With contemporization, the original forms of art are diluted and losing their value to today's cultural methods and the modern mindset of people. Also, because of various other reasons, there is a growing feeling among the purists that Vajra Nrithyam is slowly dying out as a spiritual art form and may become extinct in a few decades. Hence, we believe that only when we understand the core/meta purpose and the reason why ancient traditions conceived this dance in its original form, we can value and preserve the heart advice and the spiritual experiencing that emanates from it. In this context, our emphasis is to bring in the role of science as a tool to revive its original glory. Extending this work, in future, we would also like to make a documentary film on Vajra Nrithyam to get a 360 degree perspective of it with all its components and aspects.
In India, as in other parts of the world, we live among traditions which used distinctive means a... more In India, as in other parts of the world, we live among traditions which used distinctive means as a tool for higher transformation of being and becoming, and for the realization of one’s Self. Using creative aspect of one’s existential dimension is one such way. Realizing this, few ancient cultures created a tradition of using the creative arts as a meditative practice to glimpse and touch the divine within. One such extraordinary, unique and intense form of art, which is relevant, not only in the cultural context but also in the spiritual lineage of our world is Vajra Nrithyam or Cham Dance (or Lama Dance) – a sacred Buddhist dance ritual stemmed from traditional Tantric schools. Having begun in India, slowly the Tantric dance forms of Vajra Nrithyam are lost and forgotten in the land of origin and now exist only in the context of Tibetan Buddhism, and in geographies associated with it. With the introduction of various contemporary forms of arts and ideas, there is a change in the attitude of modern people towards traditional aspects. With contemporization, the original forms of art are diluted and losing their value to today’s cultural methods and the modern mindset of people. Also, because of various other reasons, there is a growing feeling among the purists that Vajra Nrithyam is slowly dying out as a spiritual art form and may become extinct in a few decades. Hence, we believe that only when we understand the core/meta purpose and the reason why ancient traditions conceived this dance in its original form, we can value and preserve the heart advice and the spiritual experiencing that emanates from it. In this context, our emphasis is to bring in the role of science as a tool to revive its original glory. Extending this work, in future, we would also like to make a documentary film on Vajra Nrithyam to get a 360 degree perspective of it with all its components and aspects.
Dwelling free means to follow the divine impulse, to live in a way that is not restricted to what... more Dwelling free means to follow the divine impulse, to live in a way that is not restricted to what others say and insist on, but to follow one's broadest, deepest sense about how to be, to grow, and live. Clarissa Pinkola Estes In his seminal work "To Have or To Be" Fromm spoke of the 'having mode' and the 'being mode'. James March too points towards a distinction between externally motivated working for specific 'accomplishments' or 'good consequences' versus following the energy arising from with-in's one's identity. According to March, cultivation, formation, recognition and giving oneself the independence to dance with this self-belief provides the freedom to make mistakes and to appear fearlessly foolish. This trade-off between consequential thinking and identity thinking enables us to practice the spiritual audacity of a Don Quixote or a Forrest Gump. It is imperative not to label this state of moving with one's self-belief and identity as an unproductive space. Instead the energy comes from the union of both passion and disciplined application. Remember Forrest Gump with his unusual destiny-like the unpredictable feather floating around him? Yet everything that Forrest does is with a sense of purpose-albeit, a differently-enabled identity which is disarmingly self-accepting and validating of his limited shortcomings; yet preciously studded with a dogged-discipline. There is imagination, persistence and joy as Forrest ventures out of his adolescent and familiar cocoon. There is a unusual imagination as he makes his choices when to run or pursue; there is persistence as he strives to fulfil his dharma-his natural duties, towards himself, Bubba and Bubba's family, Lieutenant Dan, his mother, his love Jenny and his son Forrest Junior; there is visible joy manifest in things he does like when he is running away from the school bullies it is through his experiencing of joy that he is able to bring succour and joy in the lives the significant others. Clarissa Pinkola Estes describes …"It is a journey to find a truer selfhood; one that cannot be easily corrupted by the outer world, or by time. The impulse fulfills a longing to unearth and reveal one's greatest and deepest shadows and gifts. It provides the balances required for a person to feel one thing especially-contentment". Therefore in the outcomes of many myths, this neglected self so often prove to be the trove of heroic treasures-just right for the conflicts and courageous efforts needed to meet aggressive challenges, and to give birth to the more tender, kinder, elegant and more strengthened new self. We all understand intellectually the differences between the vital needs of our expansive soul that call us to embark on a hero's journey, and the reflexive narcissism that leads us towards acute self-absorption. If we were able to stop to reflect on where from most of our unwholesomeness and misery arises it is from our habitual patterns of self-absorption. Dismally however, most of the time our mindfulness wanders off and make us participate in dramas and in characters, to do things, that are not related to our desires of who we