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bigtimebellydance · 8 years ago

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I’m pretty sure I’ve already posted this SOMEWHERE back in the way-backs when I first discovered it, buuut since I can’t find that original post to repost, I guess we’ll just have a li’l do-over here. Given Mariah Carey’s recent issues on live NYE coverage, it seems a pertinent subject. (Regardless of where you stand on what happened w/Mariah that night.)

If you’ve ever performed on stage, you KNOW how all kiiiiiiinds of things can go kerflooey at any possible moment when it’s your turn to shine. Tech difficulties like music & lighting can go up in flames (sometimes literally), you might get funky stages, sticky stages, uneven/lumpy/grass “stages,” audience.. interruptions/”participation,” environmental/atmospheric interference (especially if you’re outdoors), etc. all regardless of what type of on-stage artform you practice. Most performers seasoned & new recognize that those factors and LOTS more can contribute to a WILDLY varying experience, both for the audience and the performer, making every time you get on stage a unique & heart-pounding adventure. And on top of allll that, no matter how many times one may perform a song/piece, by the very nature of live performance (voice conditions, sound conditions, personal health, energy levels, mood/emotion of the performer, etc.), EVERY individual performance is different.

So when those of us who’ve been onstage see a train-wreck like what happened on NYE, it’s a multi-layered experience. We take in the show as both a fellow entertainer, and as an audience-member. (And hopefully, we’re ALL rooting for the best outcome & the performer’s success, regardless of which side of the “fence” we may happen to be leaning toward at the time. After all, this ain’t “Showgirls” or “Jackass.”) When people go to a show, no one -wants- to see a performer fail. Folks don’t go to a venue or turn on the telly to watch an entertainer wiff it onstage unless they’re watching something like SNL where that’s the whole POINT of the act, yanno? (Which is also a great comfort to those of us who struggle w/stagefright. It’s a important thing to remember; that the audience WANTS us to do well. They came to see a great show. They WANT us to succeed. That’s why they’re THERE. That’s why they paid their money.) And that’s why the people BEHIND the show put soooo much work into it. That’s why the organizer MADE the show- to succeed. That’s why the stage manager and the lighting guys, the tech crew and props masters (if there are such folks in a show), are THERE to make it frickin’ AMAZING for the audience. Alllll the focus put on a show is created to SUCCEED, so EVERYONE can have a GREAT show, from the audience to the performers to the people behind the scenes. The audience wants a great show that makes them happy and uplifted and fulfilled, and the creators & participants want something rockin’ to put on their résumés. It’s the nature of the beast.

So.. what do we do when something goes wrong..? How do we handle it when there’s a wardrobe malfunction, a tech snafu, a forgotten word or a missed step..? Or a FEW? Or, Heavens forbid, everything grinds to a hault..?

Walp.. first let me say that there’s a reason why the phrase “the show must go on” exists. People have paid their money. Performers are dressed and made up and ready to go. The lighting, music n’ tech guys have showed up and everybody’s there to give a thousand percent. ..And when things fail, THAT’S when you give a thousand and TWENTY percent. Moments where things hiccup or falter are the times when your mettle as a performer, your real heart & soul are tested n’ shown. Both reflected back at yourself, as well as to your fellow performers, to your behind-the-scenes crew, as well as to your audience. And if all goes well, the audience will never know you flubbed a word, or missed a shimmy, or botched a verse, or turned the wrong way, or missed your line, etc. Because you didn’t let your “woops” show- or stop you if it did. :) That’s what alllll that practicing and rehearsing is for- to account for allll possible variables- and to be prepared -just- in case the unthinkable happens. It’s so you are READY, NO MATTER WHAT.

But of course, we’re all human, and NO act is 100% bulletproof. Practicing may be armour, but sledgehammers and wrecking balls still happen. ;) Performer or tech engineer, stage manager or guy whose phone goes off in an intense onstage moment, we all make mistakes. We all have bad days and moments where we wanna rage at the world or kick things (including ourselves). We all have days where we don’t have the energy or our hearts aren’t in it. Or we’re sick. Or we’re grieving. Or.. etc. It happens. Even in the most ideal of situations and w/the most practice, sometimes flubs happen. So.. back to that “what do we do when..?” Basically, we take a deeeeep breath, learn to slow things down in our heads for a moment, learn how to improvise.. how to smile when we feel like crying, running or freezing up.. and we roll with it. (But if you don’t know how to do those things just yet, that’s okay. Those are skills that will come with time and experience, and having just about everything go wrong in every possible scenario while you’re getting that experience. ;) With each new obstacle a performer is faced with, they learn different ways to surmount it. That’s how they eventually overcome it. Dance around it. It’s how you learn. And how you get better. :)

My first time performing on grass outside MESSED ME UP SO MUCH I can’t even. As a li’l half-blind girl, I never went outside to play much because thanks to my depth perception & nearsightedness, I was always falling into holes, tripping over roots, walking into brambles, getting slapped in the face by branches, and I hated that shite. To this day, I still don’t much enjoy being outdoors- unless it’s on flat/paved ground or by the ocean (which is.. again- kinda flat ground ;)). So when I first danced under a tree in the grass, while I LOVED the magic of the moment, the tree, the light, the air.. the music and the audience.. as I danced I must confess that yours truly struggled w/every rock & rut my bare feet encountered. Every dent in the earth, mud patch, tree root.. OMG. And TURNING ON GRASS?? DEWD. TURNING ON GRASS. ..I -still- marvel at how in gourd’s name you can SPIN on freaking GRASS. O.o ...

But ya know what..? Even through my struggles, and even though I -hated- it before, during and after (you should’ve heard how I criticized myself to my fellow performers after I was done, another foul move which is SO NOT kosher dancer etiquette), I still got through it. It wasn’t easy, but I muddled through, and the ultimate result was the audience seemed to enjoy it, I had a decent performance overall (even with my private, silent struggles regarding the terrain), and nobody (I hope/pray) knew I was basically shrieking “EEK,” “OMG OMG OMG” or “OH SH**!!” inside, every time my foot fell down on something that wasn’t flat, soft dirt. (No lie, I spent at LEAST 50-75% of that performance internally just dead CERTAIN I was about to faceplant in the grass w/a twisted or broken ankle- at any given second...)

Yet from that experience, I got a little better at learning how to dance on grass. At dealing w/uneven surfaces beneath my dancing feet. At NOT showing the uncertainty and terror in my eyes, on my face or in my movements as I performed- or even took/left the stage. ..So when I did it again the next year, in the same site- I was more prepared. Better equipped to handle the ruts and the little dirt divots, and that whole lack of spin-ability thing. I was less “OMGOMGOMGIHATETHISWHYDIDIDOTHISWHATAMIDOINGHOLYSHIIIITE!!!” and more “it’s gonna be okay. It ain’t easy, I’m kinda skurred, but I CAN DO THIS.”

And that’s just one mild, teeny example. (Not to mention from one girl who, due to vision impairment/a disability, has certain, very specific concerns, issues n’ needs that don’t necessarily affect other dancers w/different situations/abilities.) Regardless of discipline or performer, there are some bigtime horror stories about how things have gone wrong during perfectly “normal,” SUPER seasoned, experienced as CRAP performers’ attempts at putting on a show. -Like the ones we see every day.

Want more from my playbook..? Here are a few examples:

When I was in Germany w/our high school chorus, I sprained my hand while trying to keep myself upright as I slipped down the last few stairs of this MARVELOUS cathedral, as we entered from the balcony for our performance. The tears came n’ went as I sang through the concert, holding my hand behind the person in front of me, and when it was all over, my German host family took me to the hospital n’ got me treated. (SHOUT OUT TO MAREN & FAMILY, IF YOU CAN READ THIS!! ♥♥♥)

My chorus teacher tells of a previous choir he directed that performed on a stage w/old globe lights that hung from the ceiling, just above the stage. -And how in mid-performance, one spontaneously let go and FELL to the ground, crashing to smithereens RIGHT in front of a singer in the front row. -Who promptly fainted, got carried offstage while the choir continued to sing, -and the performance went on.

And what bellydancer who’s performed with a veil or a sword hasn’t had a prop go awry at one time or another..? Swords keep spinning or overbalance and fall off, veils catch headpieces or hair n’ fall forward, leaving their dancers blinded and faceless. Veils get tangled or flung or won’t do their “tricks” at the WORST possible time.. and I’m not even gonna GO into wardrobe malfunctions like bras n’ skirts falling off! *lol* Plus there’s DJs playing the wrong music, music that won’t start or stops in the middle of your dance (had some of those latter things happen m’self- at times in the same show). People slip, people trip, knees and heels get caught in skirts.. jewelry n’ belts catch on.. everything... Ahh.. such possibility for “adventure!” ;D

These are just a few illustrations of how things can go kerschplut in the middle of a show. But that’s okay!! Good teachers, and LOTS of experience help prepare you for the snafus! (I hope early dancers don’t see this and go “aww HELL NO- NEVERMIND THIS NONSENSE!!” -and stop dancing/striving/performing, w/the fear that it’s all bad. ‘Cause it’s SOOO NOT! These are dangers that ANY performer will deal with- just in different mediums- over a huuuuge span of performances- the vast majority of which go pretty darned right! ^_^) No matter the artform, there are LOTS of artful ways of overcoming ”oops” moments. ^_^ The point is, how you deal with the glitches is important. As a performer, ya just.. kinda hafta learn how to gracefully handle the oopses- and roll with them- like this EPIC footage shows of Unmata doing. :) Their music wouldn’t play during their show at Jamballah NW, and.. they still danced. (And EPICLY at that! XD) -Plus what’s better, their AUDIENCE ended up becoming their rhythm section- out of sheer appreciation and admiration for Unmata’s amazing skill and showmanship!! (’Cause we all know it took GUTS and STYLE IN MASSES to KEEP GOING!! XD)

So how do you cope when the fit hits the shan..? Well.. you’ve got a few options to keep a “woops” from stopping you in your tracks. :)

You can play it off (ohohohoh, I MEANT to do that!)

laugh at it/make fun of it, (hey Mr. Sword, you were supposed to stay ON my head! Now GET back over here you naughty critter!!)

Address it (woops, I goofed!) and keep dancing,

NOT address it n’ recover/recoup as smoothly n’ deftly as possible (I.e. make like a cat n’ pretend nobody saw that- while you do your best to ENSURE that no one does.) Just keep rolling n’ stealthily cover the Woops up,

go with something COMPLETELY new by improv’ing like a CHAMP, (accidentally spin into your troupemate, fake a moment of a tete-a-tete style standoff until y’all can resume)

treat it as a trial for a new moment to incorporate into the act (oh wait, this 3/4 shimmy works better at that moment w/the music anyway- YAY!)

get the audience in on it (um.. HELLO STRANGER whom I just draped my ENTIRE veil over in the front row! Thanks for holding that for me! *shimmy shimmy*)

Etc. :)

And heck, if you have to, you can even stop n’ start again if something really, reeeeallllly goes awry. (I’ve seen it done on a few bellydance stages m’self, and when I was a kid and doing my first big performance, I did that once too. I fluffed up a line, started my song at the wrong place, broke into tears & ran off stage. ..But after a minute, got back up there- having told the MC through tearstained eyes n’ gritted teeth “NO, I WANNA TRY IT AGAIN.” 'cause I REFUSED to not do my performance n’ let that horrid mess be how I let things end. -Yes.. I was stubborn.. even at around 6. ;)) But I would only recommend this as your LAST possible recourse. ‘Cause this option does kiiinda stop the show.. and there’s not always an opportunity to get a reboot. Still, it does take courage!

No matter HOW you do it though, the point is; be a good sport, be humble, and KEEP GOING, ‘cause the show REALLY Must Go ON. (Besides, most folks weren’t THERE at your rehearsals anyway, right..? So if you miss a step or flub a word, unless it’s the National Anthem, how do they know your “oops” wasn’t an intentional part of the show..?? The only way they might know you’ve messed up is if you SHOW them by freezing, freaking out, etc. So ROLL with it, ‘cause they may never know! ;D)

As performers, we hafta remember that Ish* Happens, and that it’s not the end of the world if it does. (After all, NO ONE is ever totally, 100% perfect. NO performance is perfect. ‘Cause again, ALL. ‘OOMAN. Our meatsack bodies have limits unfortunately, and sometimes that’s hard for our limitless brainsacks to wrap our minds around.) -And we artists really CAN be our own worst critics!! Sure, that moment might SUCK, but even if we’ve flubbed it, we CAN still be okay. ‘Cause there WILL be other shows, and like we said at the beginning of this ramble; the audience, the production co, EVERYONE WANTS us to succeed! ^_^ The important thing is to RECOVER. (And do so w/as much grace and finesse as possible. ;)) After all, people have come to see us put on a show, and THAT’S what we’re there to do. :)

Either way, no matter how big or small the flub, I guarantee you that your audience (not to mention your fellow performers, stage crew- & yourSelf, down the line) will appreciate you and your craft, tenacity n’ heart LOTS more if you KEEP GOING with your show if you goof/things go pear-shaped. ‘Cause it takes GUTS to perform, and it takes even MORE guts to keep going when things go wrong. -And most folks can appreciate that. No doubt, it’s easier to stop, cry, freeze like a deer in headlights, or turn around and stomp off stage. (All of which are commonly a part of the learning process, so if you’re a student and have done these things, NO WORRIES. PLEASE DON”T GIVE UP. Just get back up there and KEEP PERFORMING.) But it’s tougher to KEEP GOING. -And people recognize that. A -true- BADASS will get back up on that “horse” and RIIIDE it through the storm, with gusto! ^_^ ..So do your thang, and everyone will appreciate that even when things DIDN’T work, even when you slipped and got yer dress all torn, YOU still shined. They’ll remember that YOU didn’t let even the WORST stop you. And that takes some SERIOUSLY quick wit, bravery, and cojones!! (Or ovaries, or.. whatever you prefer. :))

Sparkling is never easy. But sparkling while pewp is actively raining down n’ you’re totally slipping in it is the mark of a professional. ;) It shows everyone that no matter what, you can comport yourself with perseverance, class, poise, grace, humbleness, skill and strength of character- which is what will keep everyone cheering.. even after the music has long stopped. ♥♥♥

♥

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nithyanandahk · 4 years ago

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上師開示：人生全在於奉獻，而不是戰鬥（2021/3/8） 2021年3月8日，星期一（印度標準時間）

上午08:16-聖尊出現

*與轉世化身的阿凡達、普世靈性導師、靈修系統最高領袖、聖尊尼希亞南達帕冉瑪希瓦上師，與神聖直接連接（Shaktipada）和與神聖間接連接（Shaktini pada）的達顯現場直播。

今天是印度教的全勝慶典Vijayotsavam的第7天，女神尼希亞南迪世瓦蕊帕冉沙克提(Devi Nithyandeshwari Parashakti)以VisalakshiAlankaram 聖裝祝福我們。大師的神像以Unmata Bhairava和��空大神的方式以Sarva Alankara 聖裝施予我們恩典。

今天也是ahaparamashivaratri梵天慶典節日的第二天。尼希亞南達瓦拉帕冉瑪希瓦(NithyandeshwaraParamashiva)和尼希亞南迪世瓦蕊帕冉沙克提Nithyandeshwari Parashakti在SarvaAlankaram施予我們恩典。

上午08:33至9:23-尼希亞南達共修講座

帕冉瑪希瓦直接從凱拉薩發來的信息：

*வேத ஸாரார்த்தகம்தந்த்ரம் தஸ்மத் வைதீகம் ஆசரேத் | வேதாந்தார்தமயம்ஞானம் சித்தாந்தம் பரமம் சுபம் ||

音譯： Veda Saaraarthakam Tantram Tasmat VaideekamAacharet | Vedantartamayam Jnanam Siddhantam Paramam Shubham||

翻譯：《阿戈瑪經》是《吠陀經》的精華。非常吉祥的教義來自吠咜哲學開悟的真知灼見。

這是Kaamikagama的詩句，是帕冉瑪希瓦直接從凱拉薩向我們所有人傳達的信息。

帕冉瑪希瓦發出了一個非常明確的宣言——《吠陀經》的精髓是《阿戈瑪經》

坦陀羅Tantra是阿戈瑪的代名詞。 “Aacharet”的意思是“活的吠陀傳統”

*活出吠陀傳統的方法是“維迪卡”（Vaideekam）

當你活出《阿戈瑪經》時，你就是活在維迪卡中。

吠陀哲學的真正理解……所有匯集起來的理解都是教義。

Siddhantam Parama Shubham是終極的吉祥，因為它是吠陀哲學的精髓。

*泰米爾語翻譯： வேத்தின்சாரமேஆகமம்。 வேதாந்தத்தின்உண்மையான சாரத்தை வழங்கும் ஞானம்தான் மிக உயர்ந்த சுபமான சித்தாந்தம்.

*我認為帕冉瑪希瓦向我揭示這個信息是因為這是整個凱拉薩，我的哲理和整個共修團的基本聲明！

*來自所有不需要的角落的聲音如此之多：一邊是印度教的敵人和叛徒，另一邊是沒有經驗或覺悟的知識分子。

*那些博學但沒有開悟的知識分子和專家們，他們只為自己的既得利益而非真理說話。

那些人也在製造巨大的噪音，什麼吠陀哲學和教義是分開的，我們應該要不斷地把兩者分開。

我想和大家分享這幾件事：

*吠陀傳統對整個人類的覺醒是如此的誠實，真誠和完整；不僅是對人類，實際上是對一切的眾生，對整個宇宙。

昨天，當我們為MahaparamashivaratriBrahmotsavam節日進行升旗禮拜法事時，有一個邀請整個宇宙來參加和慶祝的神咒！

*我今天會讓他們念誦這句咒語。

*只有當你讀到那句神咒時，才會理解吠陀阿戈瑪傳統的運作是如此的浩瀚，我們在浩瀚中運作著。

*想要開悟的人，真正想要在生命中進化的人們，我可以給他們最好的一切——最好的開悟食譜，最好的食物（食譜和食物是不同的），對人生最好的詮釋，最好的穿衣風格，最好的瑜伽，最好的健康的生活方式，最好的藥物，最好的一切；為了開悟的最好的一切。

*但對那些想在無用的爭論中浪費生命的人，找事的人，就沒辦法了。

一個感興趣，想要的人，我就可以讓一切都發生在他們身上。

今天的信息將會解決所有針對我的知識，侮辱和攻擊性的問題！

*有不同層面的攻擊者：

有些是簡單的巨魔，他們取笑、逗弄、說謊、侮辱、提出假的指控。

有些是有仇恨的人。

有些只是想獲得社交媒體上的喜歡和評論。

有些是想演出一些鬧劇，人身攻擊。各種各樣都有……

*有些想通過說“哦！他教的是不對”來點聰明的攻擊。他們試圖使用的最大論點之一就是，“吠陀哲學是不不一樣的，教義是不一樣的。”

帕冉瑪希瓦用Kaamikagama的這首詩回答了整個問題！

Veda Saaraarthakam TantramTasmat Vaideekam Aacharet | Vedantartamayam JnanamSiddhantam Paramam Shubham ||

這個就了解了所有針對我的問題，疑惑和攻擊。

《阿戈瑪經》是《吠陀經》的精華。非常吉祥的教義來自吠咜哲學開悟的真知灼見。

泰米爾語翻譯：

வேதத்தின் சாரமே ஆகமம். வேதாந்தத்தின் உண்மையான சாரத்தைவழங்கும் ஞானம்தான் மிக உயர்ந்த சுபமான சித்தாந்தம்.

人生全在於奉獻，而不是戰鬥。如果我留在印度繼續戰鬥，無論是輸是贏，都會失去我的生命。我會已經是個失敗者了，因為我會早就喪命了，也不會為我所來做出任何貢獻。

為了避免戰爭，我避開了戰場。

*如果我在戰場上，就將被強行拖入戰爭中，就將無法為世界做出我所需要做出的貢獻。

*帕冉瑪希瓦派遣我賦予世界強大的力量，我已經神奇地在靈性、邏輯、科學、社會、經濟、物質和宗教上把它建立起來了。

*在我過去43年的靈性生活和26年的公眾生活中，從1994年瑜伽加冕典禮的發生（只有26年多點）開始，就有有據可查26年的公眾生活！

*它不是角落裡什麼可用的東西，但卻很好的記錄下來了！

我重複這一點是因為它太重要了。

*在這整段時間裡，我的貢獻、從各種印度教經文中的靈性理解、與帕冉瑪希瓦狀態相關的無執/放開(Unclutching)、圓滿、禪定��摩地、Ashtanga瑜伽和Shashtanga瑜伽的科學。我一直在不懈地努力工作著，每天23小時，向世界各地的每個人，數百萬人伸出援手，親自觸碰每一個人，給他們點化，給他們神性能量，讓他們與神性連接，給他們覺醒和靈感……

*在這長達26年的公眾生活中，如果沒有被強行拖入不必要的戰爭（如果沒將戰爭強加給我）的話，我本可以做出100倍以上的貢獻。

*我看到我的精力都消耗在自衛，保護我和保護共修團上了。

*事實上，印度已經成為了Kurukshetra，成為戰場了。

*不幸的是，印度教徒們沒有意識到他們正在被圍困，正處在戰場上。

*即使在印度教徒為少數民族的州，印度教也沒有授予其少數民族的地位。在超過6-7個州中，他們是少數族裔，但沒有少數族裔身份。

* 這個戰爭太強大了。這個戰爭不想讓任何有智慧的人為印度教奉獻。

* 我的貢獻可以將這種能量注入印度教徒的脊柱之中，純粹的靈性力量。

* 我所說的一切都來自於印度教的根源。因此任何一個印度教徒，即使是通過錯誤的滾屏/聆聽我的共修講座，都可以永遠地和我連接。他內心深處的東西被喚醒了並與我連接；印度教的DNA剛剛覺醒，“是的斯瓦米吉所講的是真實的！它點醒了我！我的貢獻太大了。”

* 所以，印度教的敵人/叛徒不希望我做我的工作去複興印度教的靈性力量。

*即使是現在，經過如此多的攻擊/迫害/法律/欺凌/網絡欺凌之後，如此之多的攻擊，在我和共修團這裡被偷走瞭如此之多的東西之後，即使如此之後，我們仍是世界上最偉大的豐富印度教的大師。

*至少我們在100個領域有最大的貢獻：

我們對於印度教經文評論/翻譯的數量（去看看）是最大的。

在印度教共修講座經文中講解中，我們用的時間是最廣大的。

進行的靈性/宗教課程的數量，記錄在案的，我們的是最大的。

可應用免費提供的電子書數量，我們是最大的。

我們擁有世界上數量最多的活動中心……

*至少在100個不同的維度上，我可以說，我們是最大的被崇拜的印度教大師。

*最重要的是，我們是唯一在世界某個角落擁有自己主權領土的唯一印度教大師。我目前不會告訴你它在哪裡。我會在適當的時候公佈。

*我們正在努力獲得獨立的海上航線。我們已經擁有了土地。我們需要獲得獨立，合法的海路和航空路線，因為一旦我宣布，我自然希望所有人都可以來參觀凱拉薩。有些可以居住，有些可以參觀。因此，我正在等待去展示路線和一切。

* 即使經歷了這麼多的攻擊，我們依舊為印度教��出了巨大的貢獻。

*如果我沒有被強行拖入這場戰爭，如果我沒有被攻擊，我本可以做出100倍以上的貢獻。

*我看到並意識到，印度是印度教徒的戰場。我無法和平地貢獻我想要貢獻的東西。

*我需要一個和平寧靜的氛圍，在這裡我可以繼續進行貢獻，寫書，寫文章，給予共修講座，點化……做純粹非暴力的靈性工作，真誠地為世界的開悟覺醒而工作。

*為了這項工作，我需要一個單獨的，安靜的空間，在那裡我不會受到政治上的，法律上的騷擾，包括所有這些暗殺企圖、法律戰和霸凌欺辱等。

*這就是我搬出戰場的原因。

*仔細理解：就像印度教徒的敵人和叛徒攻擊我一樣，就連所謂的印度教知識分子也攻擊我，特別是有這樣一個想法——“吠陀哲學是分開獨立的，教義是分開獨立的。 ”

*帕冉瑪希瓦(Paramashiva)在下面的這段經文中一次性為大家解決了這個問題：

Veda Saaraarthakam TantramTasmat Vaideekam Aacharet | Vedantartamayam JnanamSiddhantam Paramam Shubham ||

*所以，在我過去辛勤工作的27年在一條線上，在一個同步！

*沒有人可以在理智上質疑我的靈性權威和我的話語，我以前教導的，現在教導的，以及將來要教導的。

*在過去的26年裡，我精心地講述、評論、復興了許多經文：所有與吠陀（意為奧義書）有關的經文，然後是《阿戈瑪經|》，不同的《阿戈瑪經|》，如Kamika阿戈瑪經、Kaarana阿戈瑪經，以及關於KashmiriShaivism的阿戈瑪聖經，如希瓦經文、Vijnana Bhairava Tantra、Spanda Kaarika，所有的各種各樣吠陀書籍和吠陀學派的書籍，如《梵經》、《博伽梵歌》、無神論文學、南印度教義文學，如ShaivaSiddhantam和Veera Shaivam

*幸運的是，很多都是以視頻/音頻記錄的形式……以多種方式。

*我一生中遇到的來自有智慧權威人士的主要攻擊之一是“吠陀哲學是獨立法分開的，教義也是獨立分開的。他如何將一��連接起來？”

*帕冉瑪希瓦通過祂的詩句來拯救我，保護我並證明我是對的。

Veda Saaraarthakam TantramTasmat Vaideekam Aacharet | Vedantartamayam JnanamSiddhantam Paramam Shubham ||

*我希望我所有的弟子們今天都可以抄寫這段經文51遍。我會將它上傳到臉書上。請將詩句和翻譯一同分享。

*這是帕冉瑪希瓦保護我免受我最大的智力攻擊之一的主要防禦措施。

*我的許多弟子們也許不會清楚地理解這種攻擊，因為對於你們，我所討論地是吠陀哲學和教義。

*但是這些知識分子中的許多人都是印度的決策者。他們已經準備好砍下我的頭，而沒有打算坐下來和我溝通。他們只是想結束我的生命，不想擁有這些經典著作的文獻參考。他們只是在用印度教謀取政治利益。因此，他們不想深入去了解印度教。

*最不幸的是，印度教的敵人們攻擊我，叛徒們攻擊我，那些只把印度教用作追求政治利益，不在意印度教義深層次的真相的人也攻擊我。我必鬚髮動戰爭以保護自己免受多次邊戰的侵害。*我被捲入這場戰爭，被迫陷入這場戰爭。*我知道我在做帕冉瑪希瓦的直接工作，如果這場戰爭不強加於我，我將為人類做出更多貢獻，並且我將做一些更偉大的積極貢獻，而不是在這些不必要的愚蠢戰爭中浪費時間。*這就是我搬到凱拉薩（Kailasa）的原因。因為如果我留在戰場上，我將被迫參加戰爭。*所以如果我不在，我至少可以做我的和平貢獻。*在接下來的2-3年內，我將向你們所有人證明，遠離戰場，避免戰爭強加在我的身上，我可以增加100倍的貢獻。*所以，這首詩帕冉瑪希瓦本身已經顯示。Veda Saaraarthakam TantramTasmat Vaideekam Aacharet | Vedantartamayam JnanamSiddhantam Paramam Shubham ||*我們也有一本《博伽梵吠陀》。一本書中印有《吠陀經》的所有可用經文！它在Hyderabad靈修院中。在希瓦之夜，我們將會舉行活化儀式(PranaPratishta)去禮拜這本書。在此之前，如果這本書到達美國，我們也將會在洛杉磯道場舉行開幕儀。我們目前僅有20份複印本，我們也許將會至少獲得100餘本。Veda Saaraarthakam TantramTasmat Vaideekam Aacharet | Vedantartamayam JnanamSiddhantam Paramam Shubham ||*這段經文讓我直接感受到了帕冉瑪希瓦的到來。祂為我辯護，祂使我從1994年開始26年多的工作合法化。*因為如果你看到，我一方面將做禪蒂火供，另一天，我會對《博伽梵歌》發表評論，一日解釋《奧義書》，一日為Kaamikagama發表演講，一日討論Vijnana Bhairava Tantra, 、《希瓦經》， Spanda Kaarika，一日解釋KashmiriShaivism，一日講解偉大的Shaiva Siddhantic 聖典……！*我已經在這四個領域講解了很多——吠陀和吠陀哲學，阿戈瑪(Agama) 和Agamanta.*這四個領域- 吠陀和吠陀哲學, 《阿戈瑪經》都專注於同一個目標：開悟覺醒，帕冉瑪希瓦之道，與神聖合一(ParamashivaSayujya), 顯化帕冉瑪希瓦的凱拉薩的境界、狀態、力量、存在、超意識和凱拉薩的的方法。*今天我獲得了帕冉瑪希瓦的直接祝福。*通過這個章節，讓我過去26年的所有教導合法化。*所以我要你們所有人抄寫51遍這段章節並且記下它，同時分享到臉書上，並配以文字：帕冉瑪希瓦將過去26年尼希亞南達帕冉瑪希瓦的教導合法化。通過這個詩節：Veda Saaraarthakam Tantram Tasmat VaideekamAacharet | Vedantartamayam Jnanam Siddhantam Paramam Shubham||翻譯：《阿戈瑪經》是《吠陀經》的精華。非常吉祥的教義來自吠咜哲學的啟發性真知灼見。泰米爾語：வேத ஸாரார்த்தகம் தந்த்ரம் தஸ்மத் வைதீகம்ஆசரேத் | வேதாந்தார்தமயம்ஞானம் சித்தாந்தம் பரமம் சுபம் ||*泰米爾翻譯: வேதத்தின் சாரமே ஆகமம். வேதாந்தத்தின்உண்மையான சாரத்தை வழங்கும் ஞானம்தான் மிக உயர்ந்த சுபமான சித்தாந்தம்.這是Kaamikagama的詩句。*我感到非常高興和欣慰，因為今天解決了對我最大的智力攻擊之一！*為了將來，你們所有人都需要知道這個詩句，才能回答關於我以及我的教導和凱拉薩的愚蠢問題。*今天也是國際婦女節。聯合國為2021年婦女節定了一個主題：“婦女的領導力：在Covid-19世界中實現一個平等的未來，在通往世代平等的道路上。”*我在國際婦女節這天的信息：印度教傳統賦予女性能力。在印度教中，女權主義並沒有征服男人。它正在加強整個宇宙。*在印度教中，女權主義不是與男人爭鬥，征服男人或要獲得與男人平等的地位。女人有自己獨特的地方。我們稱女性為Shakti（女性能量）。帕冉沙克提的顯現。*全世界所有女性：“用靈性力量賦予自己力量。認識到你的獨特性，為世界做出貢獻。”這就是我在這個國際婦女節這天給出的信息。*我的祝福和支持你們所有人在這個宇宙中實現一切最好的，包括覺醒開悟！*讓我們聆聽通常在寺廟中唱誦的Brahmanda Mantra。我將翻譯放在臉書頁面裡。*你可以享受印度教傳統中如何被描述的整個宇宙。*它僅顯示了我們如何貢獻的方式。*即使為希瓦之夜，我們也邀請所有人來慶祝，我們也邀請整個宇宙來慶祝！*我以這祝福大家。——尼希亞南達中文翻譯小組英文原文： https://m.facebook.com/story.php?story_fbid=4973215542766256&id=138595819561610&sfnsn=mo視頻： https://www.youtube.com/watch?v=6GkRnSk6Rv4&t=332s

#kailasa #nithyananda #paramashiva

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