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artandculturalaesthetics · 6 years

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The dance can be done as a therapy for the curing though every raga has its own frequencies and time at which time that has to be sung. Though there could be a question as to if these are the timings that are to be practiced. There is a solution to this s well. The percussionist who is playing the tunes and the singer who is singing the lyrics if he or she follows the guidelines given, for sure there will be definitely a change as the percussionist who is practicing the raga along with the singer gets that energy source. However when the performance happens that power will automatically come to the one who is performing the raga by way of mrudangam or any instrument. Now the dancer who is dancing if follows the same process definitely there will be a drastic change in the way he or she is practically attempting. What happens is that during this sadhana for say 30 days or 41 days a mandala kala the dancer gets that inner positive energy source which will start activating the shat chakras in the body and will keep the chakras alive all along. Then whether you are playing in the evening/morning/night doesn't matter. As your body as an individual reaches that point where nothing is going to effect him or her. Following are the ragas which i have taken from google with exact time it has to be practiced by the upasaka or performer for getting that strength to with hold that negative energy source working as a cover. Onus is on the dancer and musicians to practice this to attain that energy source.

# Raag Thaat Time Aaroha (Ascent) Avroha (Descent) Vadi Samvadi 1

Abhogi Kafi Early Night, 9-12 Sa Re Ga Ma Dha Sa' Sa' Dha Ma Ga Re Sa Sa 2 Adana Asavari Late Night, 12-3 Sa Re Ga Ma Pa Ni Pa Sa' Sa' Dha Ni Pa Ga Ma Re Sa Sa' Pa 3 Ahir Bhairav Bhairav At daybreak Sa Re Ga Ma (Pa) Dha Ni Sa' Sa' Ni Dha Pa Ma Ga Re Sa Ma Sa 4 Alhaiya Bilaval Bilaval Late Morning, 9-12 Sa GaRe Ga Pa NiDha Ni Sa' Sa' Ni Dha Ni Dha Pa Ma Ga Ma Re Sa Dha Ga 5 Asavari Asavari Late Morning, 9-12 Sa Re Ma Pa Dha Sa' Sa' Ni Dha Pa Ma Ga Re Sa Dha Ga 6 Asavari(Komal Re) Asavari Late Morning, 9-12 Sa Re Ma Pa Dha Sa' Sa' Ni Dha Pa Ma Ga Re Sa Dha Ga 7 Bageshri Kafi Around Midnight Sa Ga Ma Dha Ni Sa' Sa' Ni Dha Ma Pa Dha Ga, Ma Ga Re Sa Ma Sa 8 Bahaar Kafi Around Midnight (.Ni) Sa Ma, Pa Ga Ma Ni Dha Ni Sa' Sa' Ni Pa, Ma Pa Ga Ma Re Sa Ma Sa 9 Basant Poorvi Spring Season Sa Ga Ma* Dha Ni Sa' Sa' Ni Dha Pa Ma* Ga, Ma* Ga Re Sa Sa' Pa 10 Bhairav Bhairav At daybreak Sa Re Ga Ma Pa Dha Ni Sa' Sa' Ni Dha Pa Ma Ga Re Sa Dha Re 11 Bhairavi Bhairavi Morning/concert end Sa Re Ga Ma Pa Dha Ni Sa' Sa' Ni Dha Pa Ma Ga Re Sa Ma Sa 12 Bhatiyar Marva Early Morning, 3-6 Sa Ma, Pa Ga, Ma* Dha Sa' Re' Ni Dha Pa Ma, Pa Ga Re Sa Ma Sa 13 Bhimpalasi Kafi Early Afternoon, 12-3 .Ni Sa Ga Ma Pa Ni Sa' Sa' Ni Dha Pa Ma Ga Re Sa Ma Sa 14 Bhoopal-Todi Bhairavi Morning, 6-9 (.Dha) Sa Re Ga Pa Dha Sa' Sa' Dha Pa Ga Re Sa Dha Ga 15 Bhoopali Bilaval Early Night, 9-12 Sa Re Ga Pa Dha Sa' Sa' Dha Pa Ga Re Sa (.Dha Sa) Ga Dha 16 Bibhas Marva At daybreak Sa Re Ga Pa Dha Sa' Sa' Dha Pa Ga Re Sa Dha Ga 17 Bihag Bilaval Late Night, 12-3 (.Pa .Ni) Sa Ga Ma Pa Ni Sa' Sa' Ni Dha Pa Ma* Ga Ma Ga Re Sa Ga Ni 18 Bilaskhani Todi Bhairavi Morning, 6-9 (.Dha) Sa Re Ga Pa Dha Sa' Sa' Ni Dha Pa Ma Ga Re Sa Dha Ga 19 Brindabani Sarang Khamaj Early Afternoon, 12-3 Sa Re Ma Pa Ni Sa' Sa' Ni Pa Ma Re Sa Re Pa 20 Chandrakauns - Late Night, 12-3 Sa Ga Ma Dha Ni Sa' Sa' Ni Dha Ma Ga Sa Ma Sa 21 Charukeshi - Late Morning, 9-12 Sa Re Ga Ma Pa Dha Ni Sa' Sa' Ni Dha Pa Ma Ga Re Sa Pa Sa 22 Chhayanat Bilaval Early Night, 9-12 Sa Re Ga Ma Pa\Re, Ga Ma Dha Pa, Pa Sa' Ni Sa' Re' Sa' \NiDha Pa\Re, Ga Ma Re Sa Pa Re 23 Darbari Kanada Asavari Midnight Sa Re Ga~ Ma Pa Dha ~ Ni Sa' Re' Ni Sa' Dha~ Ni Pa, Ma Pa Ga~ Ma Re Sa Re Pa 24 Desi - Late Morning, 9-12 Sa Re Ma Pa Dha Ma Pa (Ni) Sa' Sa' Pa Dha Pa Dha Ma Pa, Re Ga Sa Re Ni Sa Pa Re 25 Desh Khamaj Late Night, 12-3 Sa Re Ma Pa Ni Sa' Sa' Ni Dha Pa Ma Ga Re Sa Re Pa 26 Deshkar Bilaval Late Morning, 9-12 Sa Re Ga Pa Dha Sa' Sa' Dha Pa, Ga Pa Dha Pa Ga Re Sa Dha Ga 27 Dhani Kafi Any time day or night (.Ni) Sa Ga Ma Pa Ni Sa' Sa' Ni Pa Ma Ga (Re) Sa Ga Ni 28 Durga Bilaval Late Night, 12-3 Sa Re Ma Pa Dha Sa' Sa' Dha Pa Ma Re Sa Ma Sa 29 Gaud Malhar Khamaj Any time in rainy season Sa Re Ga Ma Re Pa, Ma Pa Dha Ni Sa' Sa' Dha Ni Pa Ma Ga Ma Re Sa Ma Sa 30 Gaud Sarang Bilaval Early Afternoon, 12-3 Sa Ga Re Ma Ga Pa Ma* Dha Pa Sa' Ni Re' Sa' Sa' Ni Dha Pa Ma* Pa Ma Ga, Re Ga Re Ma Ga Pa Re Sa Ga Dha 31 Gorakh Kalyan Kafi Early Night, 9-12 Sa Re Ma Dha Ni Dha Sa' Sa' Ni Dha Pa Ma Re Sa .Ni .Dha Sa 32 Gujari Todi Todi Late Morning, 9-12 Sa Re Ga Ma* Dha Ni Sa' Sa' Ni Dha Ma* Ga Re Sa Dha Ga 33 Gunak(ri)ali Bhairav At daybreak Sa Re Ma Pa Dha Sa' Sa' Dha Pa Ma Re Sa Dha Re 34 Hamir Bilaval Early Night, 9-12 Sa Ga Ma Dha Ni Sa' Sa' Ni Dha Pa Ma* Pa Ga Ma Re Sa Dha Ga 35 Hamsadhwani Bilaval Early Night, 9-12 Sa Re Ga Pa Ni Sa' Sa' Ni Pa Ga Re Sa Sa 36 Hindol Marva Past midnight/Early morning (.Dha) Sa Ga Ma* Dha (Ni Ma* Dha) Sa' Sa' (Ni) Dha Ma* Ga Sa Dha Ga 37 Jaijaivanti Kafi Late Night, 12-3 (.Ni) Sa Re Ga Ma Ga Re, Ma Pa Ni Sa' Sa' Ni Dha Pa Ma Ga Re Ga Re Sa Re Pa 38 Jaunpuri Asavari Late Morning, 9-12 Sa Re Ma Pa Dha Ni Sa' Sa' Ni Dha Pa Ma Ga Re Sa Dha Ga

Underline - Komal; * - Teevra; ' - Upper Octave; Superscript - Kan Swar; \ or / - Meend; ~ - Andolan Page 1 of 3

Raag Guide by Prasad Upasani

# Raag Thaat Time Aaroha (Ascent) Avroha (Descent) Vadi Samvadi 39 Jhinjoti Khamaj Night Sa Re Ma Pa Dha Sa' Sa' Ni Dha Pa Ma Ga Re Ga-\ReSa Ga Ni 40 Jog Kafi Late Night, 12-3 (.Ni) Sa Ga Ma Pa Ni Sa' Sa' Ni Pa Ma Ga Sa Ga Sa Sa Pa 41 Jogiya Bhairav At daybreak Sa Re Ma Pa Dha Sa' Sa' Ni Dha Pa Ma Ga Re Sa Ma Sa 42 Kafi Kafi Around Midnight Sa Re Ga Ma Pa Dha Ni Sa' Sa' Ni Dha Pa Dha Ma Ga Re Sa Pa Sa 43 Kalingda Bhairav Late Night, 12-3 Sa Re Ga Ma Pa Dha Ni Sa' Sa' Ni Dha Pa Ma Ga Re Sa Dha Ga 44 Kamod Bilaval Early Night, 9-12 (.Ni)Sa Ma Re Pa, Ga Ma Dha Pa, Ma* Pa Dha Pa Sa' Sa' Ni Sa' Dha Pa Ma* Pa Dha Pa, Ga Ma Pa Ga Ma Re Sa Pa Re 45 Kausi Kanada Bhairavi Around Midnight .Ni Sa Ma, Ga Ma Dha Ni Sa' Sa' Ni Dha Ma, Pa Ma Ga Re, Ga Ma Re Sa Ma Sa 46 Kedar Kalyaan Early Night, 9-12 Sa Ma, Ma Ga Pa , Ma* Pa Dha Pa Sa' Sa' Ni Dha Pa, Ma* Pa Dha Pa Ma, Pa Ma Re Sa Ma Sa 47 Khamaj Khamaj Late Night, 12-3 Sa Ga Ma Pa Dha Ni Sa' Sa' Ni Dha Pa Ma Ga Re Sa Ga Ni 48 Kirvani - Night Sa Re Ga Ma Pa Dha Ni Sa' Sa' Ni Dha Pa Ma Ga Re Sa 49 Lalit Marva Before Sunrise .Ni Re Ga Ma Ma* Ma, Ga Ma* Dha Ni Sa' Sa' Ni Dha Ma* Ma Ga Re Sa Ma Sa 50 Madhmad Sarang Kafi Early Afternoon, 12-3 Re, Ma Pa Ni Sa' Ni Pa Ma Re, Sa Re Pa 51 Madhuvanti - Late Evening (.Ni) Sa Ga Ma* Pa Ni Sa' Sa' Ni Dha Pa Ma* Ga Re Sa 52 Malkauns Bhairavi Late Night, 12-3 Sa Ga Ma Dha Ni Sa' Sa' Ni Dha Ma Ga Sa Ma Sa 53 Manjh Khamaj Khamaj Late Night, 12-3 Sa Re Ga Pa Ma, Ga Ma Pa Dha Ni Dha, Pa Dha Ni Sa' Sa' Ni Dha Pa Ma, Ga Re Ga Pa Ma, Ga Re Sa 54 Maru Bihag Kalyaan Early Night, 9-12 (.Ni) Sa Ga Ma* Pa Ma Ga, Ma* Pa Ni Sa' Sa' Ni Dha Pa Ma* Ga, Ma* Ga Re Sa Pa Sa 55 Marg Bihag Kalyaan Early Night, 9-12 .Ni Sa Ga Ma* Pa Ga, Ma* Pa Ni Sa' Sa' Ni Dha Pa Ma* Ga, Ma* Ga Re Sa Ga Ni 56 Marva Marva At Sunset Dha .Ni Re Ga Ma* Dha Ni Re' Sa' Re' Ni Dha Ma* Ga Re - Sa Re Dha 57 Megh (Malhaar) Kafi Any time in rainy season Sa MaRe Ma \ Re / Pa, Ma Pa SaNi Sa' Sa' Ni \ Pa Ma \ Re Ni Sa Sa Pa 58 Miya ki Malhaar Kafi Any time in rains/midnight Sa Ma \ Re / Pa, Ma Pa Ni Dha Ni Sa' Sa' Dha Ni Pa Ma Pa Ma\Ga~ Ma \ Re Sa Ma Sa 59 (Miya ki) Todi Todi Late Morning, 9-12 (.Dha .Ni) Sa Re Ga Ma* Pa MaGa, Ma* Dha Ni Sa' Sa' Ni Dha Pa Ma* Ga Re Sa Dha Ga 60 Multani Todi Afternoon, 3-6 .Ni Sa Ga Ma* Pa Ni Sa' Sa' Ni Dha Pa Ma* Ga Re Sa Pa Sa 61 Nayaki Kanada Kafi Around Midnight Sa Re Ma Pa Ni Sa' OR Sa Re Ma Pa Ni Pa Ma Pa Sa' Sa' Ni Pa Ma Pa Ga Ma Re Sa Ma Sa 62 Patdip - Afternoon .Ni Sa Ga Ma Pa Ni Sa' Sa' Ni Dha Pa Ma Ga Re Sa 63 Paraj Poorvi Late Night, 12-3 .Ni Sa Ga, Ma* Dha Ni Sa' Sa' Ni Dha Pa, Ma* Pa Dha Pa, Ga Ma Ga, Ma* Ga Re Sa Sa Pa 64 Pilu - Any time .Ni Sa Ga Ma Pa Ni Sa' Sa' Ni Sa' Ni Dha Pa Ma Ga Ma Pa MaGa Re Sa Ni Sa Ga Ni

65 Puriya Marva Just after sunset .Ni Re Ga Ma* Dha Ni Re' Sa' Re' Ni Dha Ma* Ga, Ma* Ga Re Sa Ga Ni 66 Puriya Poorvi After sunset .Ni Re Ga Ma* Dha Ni Re' Sa' Sa' Ni Dha Pa Ma* Ga Re Sa Pa Re 67 Purva Kalyaan Marva Evening, 6-9 .Ni Re Ga Ma* Dha Ni Re' Sa' Sa' Ni Dha Pa Ma* Ga Re Sa Re Dha 68 Poorvi Poorvi Sunset Ni Re Ga Ma* Dha Ni Sa' Sa' Ni Dha Pa Ma* Ga Ma Re Ga, Ma* Ga Re Sa Ga Ni 69 Rageshri Khamaj Late Night, 12-3 .Dha .Ni Sa Ga Ma Dha Ni Sa' Sa' Ni Dha Ma Ga Ma GaRe Sa Ga Ni 70 Ramkali Bhairav At daybreak Sa Ga Ma Pa, Ga Ma Dha Ni Sa' Sa' Ni Dha Pa Ma* Pa, Dha NiDha Pa, Ga Ma Re Sa Dha Re

71 Shahana Kafi Late Night, 12-3 .Ni Sa Ma, Pa Ga Ma Dha Ni Sa' Sa' Dha Ni Pa, Ma Pa Ga Ma Re Sa Pa Sa 72 Shankara Bilaval Late Night, 12-3 Sa Ga Pa Ni Dha Sa' Ni Sa' Ni \DhaPa, Ga Pa ReGa \ ReSa Ga Ni

Underline - Komal; * - Teevra; ' - Upper Octave; Superscript - Kan Swar; \ or / - Meend; ~ - Andolan Page 2 of 3

Raag Guide by Prasad Upasani

# Raag Thaat Time Aaroha (Ascent) Avroha (Descent) Vadi Samvadi 73 Shree Poorvi After sunset Sa Re Ma* Pa Ni Sa' OR Sa Re Pa, Ma* Pa Ni Sa' Re Sa' Re' Ni Dha Pa, Ma* Pa Dha Ma* Ga Re, Ga Re GaRe - Sa Re Pa 74 Shuddha Kalyaan Kalyaan Early Night, 9-12 Sa Re Ga Pa Dha Sa' Sa \NiDha Pa, (Pa) \ Ma*Ga Re Sa Ga Dha 75 Shuddha Sarang Kalyaan Early Afternoon, 12-3 Sa Re Ma* Pa Ni Sa' Sa' Ni Dha Pa Ma* Pa MaRe, Ma Re Ni Sa Re Pa 76 Shyam Kalyaan Kalyaan Early Night, 9-12 Sa Re Ma* Pa Ni Sa' Sa' Ni Dha Pa Ma* Pa Ga Ma Re Sa Sa Ma 77 Sindura Kafi Any time Sa Re Ma Pa Dha Sa' OR Sa Re Ma Pa Ni Sa' Sa' Ni Dha Pa Ma Ga Re Sa OR Re' Ni Sa' Ni Dha Pa Ma Ga Re Sa Sa Pa 78 Sohni Marva Before Sunrise/late night Sa Ma*Ga, Ma* Dha Ni Sa' Re' Sa' Sa' Ni Dha Ma* Ga Re Sa Dha Ga 79 Sur Malhaar Kafi Any time in rainy season Sa Re Ma Pa Ni Dha Ma Pa Ni Sa' Sa' Ni Dha Ma Pa Ni Dha Pa Ma Re Sa Ma Sa 80 Tilak Kamod Bilaval Late Night, 12-3 .Pa .Ni Sa Re Ga Sa, Re Ma Pa Dha Ma Pa Ni Sa' Sa' Pa Dha Ma Ga, Sa Re Ga Sa .Ni Re Pa

81 Tilang Khamaj Late Night, 12-3 Sa Ga Ma Pa Ni Sa' Re' Ni Sa' Ni Pa Ga Ma Ga Sa Ga Ni 82 Yaman (Kalyaan) Kalyaan Early Night, 9-12 .Ni Re Ga Ma* Dha Ni Sa' OR.Ni Re Ga Ma* Pa Dha Ni Sa' Sa' Ni Dha Pa Ma* Ga Re Sa Ga Ni

Had to take from google as I need to give authentic info

RAGA AND DAY TIME

The following schedule will summarize the specific time periods. The 24 hour period is divided into 8 beats (Prahar) each three hours long, as follows :

1.7 a.m. - 10 a.m. 1st beat of the day. Daybreak, Early Morning. Morning.

2.10 a.m. - 1 p.m. 2nd beat of the day. Late Morning, Noon, Early fternoon.

3.1 p.m. - 4 p.m. 3rd beat of the day. Afternoon, Late Afternoon.

4.4 p.m. - 7 p.m. 4th beat of the day. Evening Twilight, Dusk (sunset)

5.7 p.m. - 10 a.m. first beat of the night. Evening Late Evening.

6.10 p.m. - 1 p.m. 2nd beat of the night. Night, Midnight.

7.1 a.m. - 4 a.m. 3rd beat of the night. Late Night

8.4 a.m. - 7 a.m. 4th beat of the night. Early Dawn, Dawn (before sunrise)

Simillarly Everyday two cycles of change pass through our body, each bringing a Vata, Pitta, or Kapha predominance.

The approximate times of these cycles are as follows :

First cycle :

• 6 a.m. to 10 a.m. - Kapha

• 10 a.m. to 2 p.m. - Pitta

• 2 p.m. to 6 p.m. - Vata

Second cycle :

• 6 p.m. to 10 p.m. - Kapha

• 10 p.m. to 2 p.m. - Pitta

• 2 a.m. to 6 p.m. - Vata (21)(22)

Ahir Bhairav-Indigestion Rheumatic Arthritis Hypertension

Asavarito- build confidence - Low BP

Bageshri-insomnia

Basant Bahar-Gall Stones (Cholecystitis)

Bhairavi-Rheumatic Arthritis Sinusitis encourages datachment

Bhim palasAnxity, Hypertension

ChandrakaunsAnorexia - Heart Ailments

DarbariSedetive - Easing Tension

Darbari KanadaHeadache

Asthama

Deepak-Indigestion, Anorexia Hyperacidity, Gall Stones (Cholecystitis)

Gujari Todi-Cough

Gunakali-Rheumatic Arthiritis, Constipation Headache, Piles or Hemorrhoids

HindolRheumatic Arthiritis

Backache

Hypertension

JaunpuriIntestinal Gas

Diarrhoea

Constipation

Jaijawanti-Rheumatic Arthritis Diarrhoea Headache

Kafi-Sleep disorders

Kausi Kanada-Hypertension Common Cold

Kedar-Headache, Common Cold,Cough, Asthma

Khamaj-Sleep disorders

Madhuvanti-Piles or Hemorrhoids

Malkauns-Intestinal Gas - Low BP

Marwa-Indigestion Hyperacidity

Nat Bhairav-Indigestion, Rheumatic Arthritis, ColitisPuriyaColitis, Anaemia,Hypertension

Puriya Dhanashri -Anaemia

Ramkali-Colitis Piles or Hemore…Œeu

ShreeAnorexia- Common Cold

Cough, Asthma

Shudh Sarang-Anorexia

Gall Stones (Cholecystitia)

Shyam Kalyan-Cough, Asthma

Sohani-Headache

YamanRheumatic Arthritis

Tilak Kamod-Relaxation & Easing

Hansadhwani-Tension, Pleasing effect on Nerves.

Kalavati, Durga

Bihag-Sonorous sleep

Bhupal Todi-High Blood Pressure

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artandculturalaesthetics · 6 years

Text

Introduction :

The dance three aspects one is as an entertainer and then as physical healer and then the spiritual aspect of the dance form. Now i am talking about the dancer as therapist who heals the audience ailments with his or her dance performance. Considering the following aspect of energy coming the singer who sings the raga coupled with the instruments, generates certain energy source which in return gets to collide with the energy that is generated through the usage of the fingers and the the jewellery that a dancer wears which generator of strong electrical energy force which in return geneates certain amount of positive energy.

Idea Behind writing this article :

1) As i always say dancer is srividya upasaka due to which there will be strong energy force that runs within the body, due to which the dancer has that agility/dynamism which in return becomes a positive energy which is being felt by the audience.

2)A dancer can act as a doctor who can cure the ailments like headache/peace of mind etc. However one needs to have that vision, without his or her's intention that positive energy source is generated.

To Explain in much better way let us get indepth :

Section A :

In this section i will talking about rather explain what are the limitations and practical approach, where in we could infer the interpretations as follows :

Scetion B :

In this section i would be giving you the the ragas and its timings taken from the original text with vedas reference:

Raag Thaat Time Aaroha (Ascent) Avroha (Descent) Vadi Samvadi 1

Underline - Komal; * - Teevra; ' - Upper Octave; Superscript - Kan Swar; \ or / - Meend; ~ - Andolan Page 1 of 3

Raag Guide by Prasad Upasani

Underline - Komal; * - Teevra; ' - Upper Octave; Superscript - Kan Swar; \ or / - Meend; ~ - Andolan Page 2 of 3

Raag Guide by Prasad Upasani

Source file :

Taken from google for authentic purposes.

Section C :

In this section i have taken the original timings so as to make sure, when taking the timings nothing goes wrong.

Source :

Google.

RAGA AND DAY TIME :

The following schedule will summarize the specific time periods. The 24 hour period is divided into 8 beats (Prahar) each three hours long, as follows :

1.7 a.m. - 10 a.m. 1st beat of the day. Daybreak, Early Morning. Morning.

2.10 a.m. - 1 p.m. 2nd beat of the day. Late Morning, Noon, Early fternoon.

3.1 p.m. - 4 p.m. 3rd beat of the day. Afternoon, Late Afternoon.

4.4 p.m. - 7 p.m. 4th beat of the day. Evening Twilight, Dusk (sunset)

5.7 p.m. - 10 a.m. first beat of the night. Evening Late Evening.

6.10 p.m. - 1 p.m. 2nd beat of the night. Night, Midnight.

7.1 a.m. - 4 a.m. 3rd beat of the night. Late Night

8.4 a.m. - 7 a.m. 4th beat of the night. Early Dawn, Dawn (before sunrise)

Simillarly Everyday two cycles of change pass through our body, each bringing a Vata, Pitta, or Kapha predominance.

The approximate times of these cycles are as follows :

First cycle :

• 6 a.m. to 10 a.m. - Kapha

• 10 a.m. to 2 p.m. - Pitta

• 2 p.m. to 6 p.m. - Vata

Second cycle :

• 6 p.m. to 10 p.m. - Kapha

• 10 p.m. to 2 p.m. - Pitta

• 2 a.m. to 6 p.m. - Vata (21)(22)

Ahir Bhairav-Indigestion Rheumatic Arthritis Hypertension

Asavarito- build confidence - Low BP

Bageshri-insomnia

Basant Bahar-Gall Stones (Cholecystitis)

Bhairavi-Rheumatic Arthritis Sinusitis encourages datachment

Bhim palasAnxity, Hypertension

ChandrakaunsAnorexia - Heart Ailments

DarbariSedetive - Easing Tension

Darbari KanadaHeadache

Asthama

Deepak-Indigestion, Anorexia Hyperacidity, Gall Stones (Cholecystitis)

Gujari Todi-Cough

Gunakali-Rheumatic Arthiritis, Constipation Headache, Piles or Hemorrhoids

HindolRheumatic Arthiritis

Backache

Hypertension

JaunpuriIntestinal Gas

Diarrhoea

Constipation

Jaijawanti-Rheumatic Arthritis Diarrhoea Headache

Kafi-Sleep disorders

Kausi Kanada-Hypertension Common Cold

Kedar-Headache, Common Cold,Cough, Asthma

Khamaj-Sleep disorders

Madhuvanti-Piles or Hemorrhoids

Malkauns-Intestinal Gas - Low BP

Marwa-Indigestion Hyperacidity

Nat Bhairav-Indigestion, Rheumatic Arthritis, ColitisPuriyaColitis, Anaemia,Hypertension

Puriya Dhanashri -Anaemia

Ramkali-Colitis Piles or Hemore…Œeu

ShreeAnorexia- Common Cold

Cough, Asthma

Shudh Sarang-Anorexia

Gall Stones (Cholecystitia)

Shyam Kalyan-Cough, Asthma

Sohani-Headache

YamanRheumatic Arthritis

Tilak Kamod-Relaxation & Easing

Hansadhwani-Tension, Pleasing effect on Nerves.

Kalavati, Durga

Bihag-Sonorous sleep

Bhupal Todi-High Blood Pressure

Conclusion :

If we see all of these ragas definitely we use in the composition of the dance and this is indirectly going to effect our bodily parts. Now question is irrespective of the timings and its usage can these be used in the performance as there is enough proof from the research organization giving this data with proper timings and its usage. Though the onus lies on the musicians and dancers how well they practice use the prescribed time as per descipline. In case the dancer or musician practices the ragas at a prescribed time and does it for forty days or so thatis mandala kala, both the dancer as well as musician practice, the kind of positive aura that is created within the individuals is nothing like it.

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artandculturalaesthetics · 6 years

Text

Introduction :

Article is all about the dancer attaining the spirituality consciousness while dancing using the krithis of Deekshitar and thayagaraja. What happens during the dancing time.What are the ways to attain this spiritual consciousness aspect of the dancer. This has been a very significant feature of the dancer which happens unknowingly. Though dance done as an entertainment, however it has the spiritual consciousness aspect added to it at the end of the presentation. This happens unknowingly.

Idea behind the writing this article :

1) Showing the importance of thyagaraja and Deekshitar's krithis.

2)Importance of sound frequencies that help one to get the positive energy source to think properly and have a decent life.

3)Importance of srividya's tatva and to come to a conclusion that dancer not only an entertainer but he or she is sri vidya upasaka activating ida pingala shishmna nadi with 72000 nadis out of which 16500 happen to function real dynamically.

Explaining you furthur in detailed way :

Sections A :

Dealing with krithis of the Thyagaraja and Muttuswamy Deekshitars and its effects on the parts of the individual namely ida pingala Shishumna nadi covering whole of the navavarana concept of shrividya tatva taking the individual into the highest level of knowledge leading to spiritual consciousness aspect of the individual :

Here we need to talk about the krithis of the thyagaraja and dheekshitar who have composed beautifull tunes to fecilitate the dancer. As I always believe that dancer is srividya upasaka and has those navavarana composition in the body which could be explained in detailed way in brief . Though unable to attach the pics for reference though can be explained in following way: ida, pingala, shishumna nadi which gets activated with the beejaksharas ome/aim/hreem shreem/kleem/souhu/ however all of these are the culmination of the saptha swaras which again have definite frequencies. Now The point to be noted here is that, out mind has limited capacity to withhold the energy beyond which it cannot think. However keeping in view all of these deekshitar composed beautiful tunes which were so calculative that every singer or percussionist needs to understand. What if the frequencies cross even a milli micro seconds there will be definitely a change in the way a mind starts to think in a negative way. However there were very few of them who could handle that much power. The once who could handle the power were Ramakrishna Parmahamsa / Ramana maharishi. The thinking capacity of these great people was awesome. They had that power to handle that extra ordinary power.

Section B :

Deals with the 72000 nadis of which 16500 nadis necessarily happen to work using the ragas as medium to transmitt that energy force with certain amount of frequencies which help the body to generate that energy force:

The deekshitars and Thyagarajas krithis are based on the following beej aksharas which are primaryly aum shreem souh klim hrim gloum and aim. These are the furthur translated into saptha swaras sa re ga ma pa dha ni sa. The great ness of krithis are the following :

1) they have been given different frequencies as to which has to be stressed hard. Say we stress on the sounds during the recitation the specific beejamantra gets activated accordingly. That is the reason why you see the musician and dancers having that agility and lively nature through out their dancing career.

2) The moment percussionist starts to sing the raga using the raga say ananda bhairavi raga, the mood of the dancer or singer or the one who sees the dance gets to that mode.The question here is that he or she who is practicing using the krithis of Deekshitar's or Thyagarajas or Tansen who have had that purification of the mind, gets to have that aura coming in their body. To me we should thank panini who translated the maheshwara raga that came from damaruka to 14 swaras which furthur become 108 like wise.

3) The attainment of this leads to the ultimate goal of reaching mother godess's lotus feat for both the dancer and percusionist and the audience as well.

4) When reciting the beeja mantra, there is typical nature of the mantra to reach the audience. This phenomina is nothing bana mathi technique in a more positive way. Today i see that if we are speaking about the banamati people get to think about the black magic which is prevailing mostly in north and some parts of kerala. Sad thing is that banamathi is a very beautiful technique that can cure most of the ailments pertaining to the mind, specially for the mentally retarted and autism kids. There is definitely a way to get to it. The moment dancer who dances starts to focus his or her mind on the child who is suffering from certain disorders, can take control over the body of the disorders and, vertually tell his or her mind that do this, definitely the disordered kid or patient will improve merely by seeing the dance based on navavarana.

5)Nava avarana means nine bodies which constitute the human body, What deekshitar or Thyagaraja did was, they collated all the swaras and created certain raga with a frequency range. This in turn creates certain vibrations in the air and dancer who dances also emits certain frequencies which will generate certain energy in a positive way. This goes to the audience and thus the positive energy is generated. Then comes the claps from the audience. The audience receive that positive energy which this in turn comes in claps form.

Example:

To give you a live a example When i started to write or do research on dance or music i did not get any momentum. But when i started to chant the beeja mantra ome aim hreem shreem kleem, thats when i started to get the thought process going . Here my point of emphasis is that, mantra meaning (mananath thrayite iti mantraha) which i did religious using the mudras that i do on a daily basis during my sandhya vandanamusing the five plus five ten fingers in various different permutations and combinations gave that extra energy source in more positive way to reach that micro and macro cosmic energy source that cannot be seen. But can be felt by the individual who is practicing. Today if i see i am able to write or tell what is or will happen is all due the chanting of the beeja mantra on the regular day to day activities along with the nav avarana krithis by Deekshitaar and Thyagaraja.Today i can see what is happening in my whole body and can see that uneasiness happening to me well in advance before anyone can say you are uneasy.

Now if the dancer who dances to the tunes gets to that feeling of the energy sources that are being emitted during the performance and after perfomance. As i was speaking about the 72000 nadis and 16500 active nadis in our body during this course of time has the shat chakras which gets activated as per the below 5 diagram touching every organs and five fingers denoting the pancha bhauthick tatva which are existing in nature. The navarana krithis typical activate all of your indriyas in the body and purify you mind consciousness leading to the salvation of one's own self . Though during the dance the dancer uses various mudras using the middle finger, little finger, thumb finger etc during the course of which the panch mahabhootas jala, prithvi, akasha, varuna and agni get activated. When you hear the Thyaga raja or Deekshitar's krithis you will tend to hear about the devi kadga mala's animadi laghimadi etc. Indirectly listening to these krithis by Thyaga raja or Deekshitar will activate whole of the bodyly parts and gets you connected to the organs. Again upasaka or dancer has to really have that focus of the mind towards this, which will follow through. This touching the ida, pingala, shishmuna nadi with all the chakras. With the sun channel, moon channel and middle, and the seven chakras which are explaind in the diagram below.

With the hand moments itself if we see it is touching most of the organs and full body parts for the activation purposes.

Now looking at these pics one cannot deny of the fact that our body is having around 72000 nadis out of which, 16500 nadis necessarily happen to work round the clock and, when a dancer dances all these nadis start getting activated at certain frequency levels. Though as I was speaking before starting to write on this article there is standard set of frequencies that our body can handle, beyond which if it goes even milli micros fraction seconds also will disturb whole of the human anatomy starts taking the changes. Meaning which our mind will start working in negative direction. Though there have been scientist who can use the brain to 4.5 out of ten scale and to the best it can be 7.5. Once it touches the scale of 7.5 the brain functioning starts to get detiriated. However for the one to handle more than this he or she needs to have that extra ordinary level of handling the frequencies. That is reason why if you see the saptha swaras or samaveda has standard music pattern and is sung at that pace. Though in dance we see that this is converted to the lines but sung at certain frequency level and it will be not more or less but exactly to that frequency as it has to be. Thus the dancer gets to the state where he or she realizes that this is the ultimate truth.

Practicing of the dance for the nav avarana krithis:

1) Need to have that pure and guileless nature which will help the upasaka to get in sync with the frequency of the krithi with which it is recited or composed.

2) Need to have that urge to catch to that speed with which the sound of the beejakshara travels. Need to be more focused towards that attainment of that energy. To be able to handle that force which is not very easy to handle. Initially had that difficulty in taking control over that higher range frequency sound which was so forceful that it was like sitting on the fire. But overcame after a long practice of for almost five months. Though i used to practice the meditation right through my childhood.The tests you will have will be very strong and you may have to face that thwart of insecure which will see how you are going to overcome that. Yet the compassion and that commitment or delegency really should not die.

all in all with regards to practice one has to have that patience and that kindness, guilelesness, helping attitude, and open towards the failures and trying to surge ahead is what required during the practice. Listening to the navarana krithis or dancing on the navarana krithis is all the more easy, yet very tough as it requires your body's body frequency matching the frequencies of the krithis, only then the positive outcome would be there, else it would be like more to say a mere dance.

Dancer's or listeners takes:

1) If the nav avarana is delligently heard and practiced using the mudras for sure his or her outlook will change in fraction of seconds. The best part of nav avarana krithis is An individual does not know that changes have happened. They happen without your knowledge. Just like me, When i started to think about nav avarana it was like an uphill task. I had asked many of the dancers, but none could help me in this regards. SAo what i did was searched for the krithis and checked if i can do or not. Read an article about the confidence within yourself, what they say is nothing impossible, so i proceeded ahead and still continuing to do the same. Today i can say not only me anyone who thinks yes i can do, this will give world of confidence. Frankly speaking i am neither a dancer nor a musician , but continued my research with a aim and going with that. Today i have published around 5 to 6 articles on dance which i got it out of sheer perseverence. Nobody taught me nor gave me any special lessons. The only thing or help i got from the dancers was only one word which is like that of an hint, and i did the research. This is what nav avarana krithis which we listen or hear or dance will give you. loka samastha sukhinaha bhavanthu.

Limitations :

Is today's dancer capable to achieving the same with the increasing competition for the survival of the existence. Today's dancers are mostly focusing on the beauty part which will come automatically. One really need not concentrate more on this. Though this is just my perception. Not to offend any dancer for the same.

Conclusion :

Dancer is not only can be used as entertainment purpose but this leads to the salvation of the individuals, without their knowledge as the frequency at which the enrgy source hits the body generated such energy force that creates a positive vibes which gets to the brain and thus attaining the salvation.

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artandculturalaesthetics · 6 years

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Introduction :

Before we start thinking about the panini sutra one has to understand what is maheshwara sutra. It is said that when lord shiva was dancing on the tunes of damaruka sound, panini without the lord shiva's knowledge translated the sounds into `14 words. However, these 14 words further got transformed to the other words respectively. Now during that time, there was one language prevailing which was a prakrith language which is based on the natural resources and its sounds. Now this language was predominantly spoken by the gods. This is a language which is based on the sounds. Now the universe is big enough with all the samsara people dwelling. Now the society which is in samsara cannot really speak this language and make sounds all the time.Thus panini initially created 14 words which were in samsara krit(Sanskrit) language.Every word has certain strength with some frequency. This is the strength in the dance form.This is the prime source that helps to generate the energy. The shabda bheda and shabda matrika have different levels to calculate the frequencies with which it can be used in the shloka or the keerthana.

1)The first part of the importance deals with the sounds that are emitted from the instruments. As we know that our body is constituents of the panchabhauthika data, which in other words is the part of prakrithika shabda technique to express your feelings or your actions. Our five plus five fingers on the right and left side when coming into contact, there is enormous energy which is generated. If we see why do one say to clap before the start of the program, the reason is the moment both hands start rubbing each other with panch bhoona tatva creates a sort of heat with your body and, thus emits energy which a performer gets to feel while dancing or doing any creative activity that is helping someone to grow.

2) Why shabda bheda in language, the reason is very simple:

1) we have various kinds of instruments, birds, etc with 84000 plus varieties of human existence. Typically a dancer or singer has to have some or the other medium to translate the same. For not every object or description, you can use same shabda.Thus shabda bheda was created. Now we are trying to educate the society on the better living, so what panini did was stressing of the words, that has to be highlighted for the recital purposes. Now emphasizing on the words which depict the object that is being highlighted is what we call as sandhi and vichada. Here we are trying to break the word into two and thus highlighting what we want to. This way the krithis that we re hearing today written by deekshitar or Thyagaraja, the strength of the word is what happens in the compositions. Now there is a debate which has been happening for quite a long time that Deekshitars Nava vara nA krithi 's frequency sounds are at a far higher frequency points which a normal human being can hold. However, there have been significant adjustments that musicians try to adjust when trying to play. Now the question is right from panini to deekshatar s or thyaga raja dynasty there were not so many issues or changes which have had happened. With increasing number of digitization and technological advancement both in genetical science and philosophical approach. There are many modern theories which have existed like big bang theory based on physics.

Now if we use these deekshitaars and Thyagaraja krithis which have a certain frequency and creates enormous energy, is this frequency enough for the human ailments like cancer/ brain tumor/ etc which makes life more tougher for the one who is suffering.The modern science and technology which uses a different frequencies and the frequency with which the words come out of a Nata vanga are enough for these ailments. As Nava vara nA krithis have a very special character of healing the deceases which modern science is not able to do. Now question to the modern day science or scientists is can we translate these krithis or keerthanas into the normal language at the prescribed frequency for the betterment of human cause. Question to the Vedic scholars who have been writing the scripts for the dancers for the dance sequences is is the frequency with which the sound is produced or thwarted during the course of singing can be altered as per our convenience. The reason is very simple if we use the frequency at which the deekshitar or Thyagaraja used, it may work or may not work. The other question to the medical fraternity is the individual mind's brain pattern the same. Can it handle the thwarted frequency with which a musician is singing or percussionist playing the instruments?

Though nothing goes beyond the karma aspect which is a known fact as well.

The other thing about the current century and their century time are there was not much technological advancement as we are seeing today. To attain the power to create an extraordinary energy one had to undergo a lot of penance and using the sound frequency as the medium. Thus they had the natural instinct. Now let us take the individual who is having the maximum energy and the IQ level of both of the individuals during that time and today's time. We can feel the difference. As there is a lot of environmental pollution and sound pollution now. What is the kind of purity of the atmosphere we can find? Now Question is during the medieval times there was a lot of peace in the environment. Now there is the difference. Thus what is the frequency at which the sound has to be used to filter all the bad noise pollution to get that purity? Though Navara nA krithis and navagraha krithis written by Thyagaraja and deekshitar will definitely have. The question is what is the frequency at which it has to be played for purifying the same and getting the same to public in a more positive way for the curing the human ailments, which are generating every hour with new deceases and the new process of human existence happening.

Conclusion :

Today the century is going way far from old generation and things are changing at a rapid pace with technological advancement. Can the krithis which have been written by Thyagaraja and deekhitar's fill these gaps and can they be altered in terms of the frequency levels.

Any comments on the article are welcome to be published or send an email to

[email protected] or call me over my number 09880684971

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artandculturalaesthetics · 6 years

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To start with today our technological advancement has come up the terms called, hypno therapy and psychology which means that the body being in the unconscious state of mind where the human emotions play the conscious and semi sub conscious state of mind which acts according to the situation. However the doctors who treat the patients have their own technique to help the patient making him or her realize that you are the single entity body on this earth and you are unique in yourself.the same thing was told in the vedas and upanishads and thus leading to the ultimate truth that the human soul is one and that is ome having the combination of aakara ukara makara and umakara.

Section one deals with the segrigation of the subject :

In this section if we clearly analyze the above figure it is more of talking about the happiness/control/calm/ positive trance feeling of once nature. During the medieval times there were no questionares or the standard list of techniques, there were the following :

1) vedic scriptures talking about the spelling of the word in the shloka in a systamatic manner which were predominantly have beejaaksharas and other sounds with the breaking of the complex sounds in syllables. There was a syllable stressing of the word or the alphabet in a shloka. Due to which there was a mixed reaction in the brain functions and the human brain started to function according to the sound. However the difference during that time and and today's time is that there was no noise pollution and environmental pollution/human aristocracy and most importantly there was humanity. As the years and centuries rolled on there were quite a few changes in both environmental and noise changes. Today we see so much stress that, everyone wants to be number one and wants to be on the top. Though none of them want to understand his or her uniqueness in his or her own nature. When sage valmiki was killing the human beings by cutting the thumb, a sage comes a gives him one mantra which was mara if we reverse the same it will be rama which signifies the tranquil nature of the one's own mind.Now question is does really god exist in this nature or an individual is the supreme soul by himself. If we take modern day clinical psychology students or doctors what are the test that are really being done on the patients. Is it so necessary to understand the background of the patient who is suffering from the deppressive state of mind.

I need to take my own example here i am from middle class background and, i always used to believe in only one thing that is "i am what i am i cannot be what other person is", this i always used to remember go on, However my house old atmosphere was totally different by giving me the comparision with others by telling he is very intelligent and he is getting 90 % etc. There was a point where i was so depressed that,i could not share it with any one in my house hold and had to subdue the fact that i cannot use my intelligence. But used to fight for a longer time. Unfortunately this happened at a very early age of 6 or 8 years when i was. Thats when i started to do meditation, though it was too late, because by the time i realized that i need to recover the image of i am not intelligent was already printed in my mind. This in precise i feel bad to say that my own people have been treating me as a dull and waste candidate. Then one day i started to read the vedic scriptures going to ramakrishna mission's library and slowly tried to understand things that, this body one soul. I am one with god. But i have to practice my rituals and today i am in a position where i could realize myself. The fact is i met psychologists and psych artists during that time without my parent's knowledge and wanted to know more about my nature. Though the only answer the doctors gave was meditation. There were no questionares and any kind of councelling.

There was very famous quote i remember just do what you want to leave rest to nature which is what i have been following till date. But i still regret for the fact that there was nobody to hear me, rather there were lot of kick backs, but has to fight my ownself till date.

Considering this live example of mine what is it that had actually happened with me if one can see, is very simple i realized that there is nothing in nature other than me and i have certain duties to perform and let it go like a water flowing in the river. Now if i go to the clinical psychologist or hypno therapist they will give me lot of questions, whereby they will diagnose the same using the theology of a person with similar attitude and having gone through the same during the history and give the remedies for the same by telling that you need to practice these exercises daily and frequently visit the doctor. Though it is not a denying fact that visiting the doctor would soother to a large extent. However what if after sometime when you think yes i am fine, and it bounces back. Here the clinical psychologist or psychologists are missing of one fact, they are unable to teach the individual the art of realizing himself. This has to come within the individual, this cannot be given the fire by the other person. Thus getting the ignition done in you body and soul. Now the same thing in medieval was dealt in a different way. There were certain scriptures which has all the sounds. These were the moral boosting stories and, the translated version of the future actions to be done or rather envisioned by the individual for his or her betterment of life. What are the moral stories that modern day clinical psychologists or hypno therapists can give to an individual in today's treatment. I see that there are many seminars being conducted on the same in the mass gathering. is this going to help the patient is the question.

Now if we really look at it in more broader sense, the seminars or lectures really do not get into the minds of the individuals. But the only thing that gets into the mind is one on one counselling by trying to understand what exactly is needed to the patient. I have seen many of the lectures and read a few of the articles that speak about the back ground check of the patient. Now back ground check is something which cannot really solve whole of the issue or the case history. Need to understand what are his or her points in more positive, then give that positive feeling of the mind in an individual. Basically everybody is born for a purpose. I remember going to astrologers and asking for the astrology of mine and everybody used to say, you will be a star and you are star. Everything is all right in your horoscope. Though there have been always a fact that i used to feel short, then why am i not able to build on it or why am i failing. Then i did this small trick of concentrating on what i want, and thinking about it every day when i get up. Now what is it that i have been doing all these years or what i did. It is very simple that i used to imagine myself in that situation and start to act as i am in that position. This is what is called hypno therapy to my understanding. I am self hypnotizing my self and getting to that zone for accomplishing the same.

The question to the hypno therapists or psychologists is was this taught to me or told to me by any one. None of them really gave this clear insight of this. The only thing i did was was chanting the mantra which is called just to give you that confidence. Can a clinical psychologist or psychologist give that assurance that he or she will be with that patient all the way along 24/7. No they cannot, in fact this is the difference between vedas/upanishads and the clinical psychologists and hypno therapists. This is what really required for the individual not the councelling or exercises which i have seen in one of the youtube videos. Now i am not finding fault with the doctors, but this is one key point which needs to inculcated in one's individual brain. Not by thrusting or making it compulsion to do the exercises as a routine.

Note : this is not to offend the doctors or the practitioners, but these are true facts which i wanted to get to the notice of the modern day medical fraternity to peep into. Kindly forgive me if this is offending. These are just the important points one really has to ponder upon. These are the key points which vedas and upanishads have

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