Modern Odissi is performed by children and adults, in solo or as group. Above is the Tribhanga posture of Odissi.
![]()
6The theoretical foundations of Odissi trace to the ancient Sanskrit text Natya Shastra, its existence in antiquity evidenced by the dance poses in the sculptures of Odissi Hindu temples, 1 7 and archeological sites related to Hinduism, Buddhism and Jainism. 8 9 The Odissi dance tradition declined during the Islamic rule era, 10 and was suppressed under the British Rule.
11 12 The suppression was protested by the Indians, followed by its revival, reconstruction and expansion since India gained independence from the colonial rule. 9Odissi is traditionally a dance-drama genre of performance art, where the artist(s) and musicians play out a mythical story, a spiritual message or devotional poem from the Hindu texts, using symbolic costumes, 13 body movement, abhinaya (expressions) and mudras (gestures and sign language) set out in ancient Sanskrit literature. 14 Odissi is learnt and performed as a composite of basic dance motif called the Bhangas (symmetric body bends, stance).
The main purpose of this site is to give interested students of Kriya Yoga an opportunity to download my book: 'Kriya Yoga: synthesis of a personal experience.' By releasing this book freely, I have no intention to create a new school of Kriya Yoga. It will remain forever what it is. Aside all the other Kriya techniques and practiced 144 Maha Mudra in two sessions daily. They consider Maha Mudra the most useful among all Kriya Yoga techniques. Insignificant details I have noticed that some schools insist on uninfluential details. For example they insist that when you extend the right leg in front, you must.
It involves lower (footwork), mid (torso) and upper (hand and head) as three sources of perfecting expression and audience engagement with geometric symmetry and rhythmic musical resonance. 15 16 An Odissi performance repertoire includes invocation, nritta (pure dance), nritya (expressive dance), natya (dance drama) and moksha (dance climax connoting freedom of the soul and spiritual release). 6 17Traditional Odissi exists in two major styles, the first perfected by women and focussed on solemn, spiritual temple dance ( maharis); the second perfected by boys dressed as girls ( gotipuas 18) which diversified to include athletic and acrobatic moves, and were performed from festive occasions in temples to general folksy entertainment.
7 Modern Odissi productions by Indian artists have presented a diverse range of experimental ideas, culture fusion, themes and plays. 19Odissi was the only Indian dance form present in Michael Jackson's 1991 hit single Black or White.Part of a series onHinduism. Hindus. History.
Musician and dancer relief at the Konark Sun temple.Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. 5 There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.
1 7The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. 43 Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. 5 43Mughal and British rule periodAfter 12th-century, Odia temples, monasteries and nearby institutions such as the Puspagiri in eastern Indian subcontinent came under waves of attacks and ransacking by Muslim armies, a turmoil that impacted all arts and eroded the freedoms previously enjoyed by performance artists. 12 The official records of Sultan Firuz Shah Tughlaq's invasion in Odisha (1360-1361 CE), for example, describe the destruction of the Jagannath temple as well as numerous other temples, defacing of dancing statues, and ruining of dance halls. 44 This led to a broad decline in Odissi and other religious arts, but there were some benevolent rulers in this period who supported arts particularly through performances at courts.
12 During the Sultanate and Mughal era of India, the temple dancers were moved to entertain the Sultan's family and courts. 45 They became associated with concubinage to the nobility.
citation needed. A male Odissi dancerThe Odissi dance likely expanded in the 17th century, states Alexandra Carter, under King Ramachandradeva's patronage.
46 This expansion integrated martial arts ( akhanda) and athletics into Odissi dance, by engaging boys and youth called Gotipuas, as a means to physically train the young for the military and to resist foreign invasions. 46 According to Ragini Devi, historical evidence suggests that the Gotipuas tradition was known and nurtured in the 14th century, by Raja of Khurda. 47During the British Raj, the officials of the colonial government ridiculed the temple traditions, while Christian missionaries launched a sustained attack on the moral outrage of sensuousness of Odissi and other Hindu temple dance arts.
12 48 49 In 1872, a British civil servant named William Hunter watched a performance at the Jagannath temple in Puri, then wrote, 'Indecent ceremonies disgraced the ritual, and dancing girls with rolling eyes put the modest worshipper to the blush.' , and then attacked them as idol-worshipping prostitutes who expressed their devotion with 'airy gyrations'. 50Christian missionaries launched the 'anti-dance movement' in 1892, to ban all such dance forms. 48 The dancers were dehumanized and stigmatized as prostitutes during the British period. 51 52 In 1910, the British colonial government in India banned temple dancing, 53 and the dance artists were reduced to abject poverty from the lack of any financial support for performance arts, combined with stereotyping stigma.
46Post-independenceThe temple dance ban and the cultural discrimination during the colonial rule marshaled a movement by Hindus to question the stereotypes and to revive the regional arts of India, including Odissi. 48 49 50 Due to these efforts, the classical Indian dances witnessed a period of renaissance and reconstruction, which gained momentum particularly after Indians gained their freedom from colonialism. 54Odissi, along with several other major Indian dances gained recognition after efforts by many scholars and performers in the 1950s, particularly by Kavichandra Kalicharan Pattanayak, an Oriya poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as 'Odissi'.
12 55Repertoire. An Odissi dancer in nritya (expressive) stage of the dance.Odissi, in the classical and medieval period has been, a team dance founded on Hindu texts. 7 This drama-dance involved women ( Maharis) enacting a spiritual poem or a religious story either in the inner sanctum of a Hindu temple, or in the Natamandira attached to the temple. 56 The Odissi performing Maharis combined pure dance with expression, to play out and communicate the underlying text through abhinaya (gestures). 56 57 The performance art evolved to include another aspect, wherein teams of boys – dressed as girls – called Gotipuas expanded the Odissi repertoire, such as by adding acrobatics and athletic moves, and they performed both near the temples and open fairs for general folksy entertainment. 7 46 In the Indian tradition, many of the accomplished gotipuas became the gurus (teachers) in their adulthood. 46 Modern Odissi is a diversified performance art, men have joined the women, and its reconstruction since the 1950s have added new plays and aspects of other Indian dances.Love is a universal theme and one of the paradigmatic values in Indian religions.
This theme is expressed through sensuous love poems and metaphors of sexual union in Krishna-related literature, and as longing eros ( Shringara) in its dance arts such as in Odissi, from the early times. 46 58 Hinduism, states Judith Hanna, encourages the artist to 'strive to suggest, reveal or re-create the infinite, divine self', and art is considered as 'the supreme means of realizing the Universal Being'. 59 Physical intimacy is not something considered as a reason for shame, rather considered a form of celebration and worship, where the saint is the lover and the lover is the saint. 60 This aspect of Odissi dancing has been subdued in the modern post-colonial reconstructions, states Alexandra Carter, and the emphasis has expanded to 'expressions of personal artistic excellence as ritualized spiritual articulations'.
46The traditional Odissi repertoire, like all classical Indian dances, includes Nritta (pure dance, solo), Nritya (dance with emotions, solo) and Natya (dramatic dance, group). 61 62 These three performance aspects of Odissi are described and illustrated in the foundational Hindu texts, particularly the Natya Shastra, Abhinaya Darpana and the 16th-century Abhinaya Chandrika by Maheshwara Mahapatra of Odisha.
61 62. The Nritta performance is abstract, fast and rhythmic aspect of the dance. 63 62 The viewer is presented with pure movement in Nritta, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect, no telling of story. It is a technical performance, and aims to engage the senses (prakriti) of the audience.
64. The Nritya is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions. 63 62 In a nritya, the dance-acting expands to include silent expression of words through the sign language of gestures and body motion set to musical notes. This part of a repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.
64. The Natyam is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A Natya incorporates the elements of a Nritya. 61 62. The Mokshya is a climatic pure dance of Odissi, aiming to highlight the liberation of soul and serenity in the spiritual. 17Odissi dance can be accompanied by both northern Indian (Hindustani) and southern Indian (Carnatic) music, though mainly, recitals are in Odia and Sanskrit language in the Odissi Music tradition. 61SequenceTraditional Odissi repertoire sequence starts with an invocation called Mangalacharana.
6 A shloka (hymn) in praise of a God or Goddess is sung, such as to Jagannath (an avatar of Vishnu), the meaning of which is expressed through dance. 6 Mangalacharana is followed by Pushpanjali (offering of flowers) and Bhumi Pranam (salutation to mother earth). 6 The invocation also includes Trikhandi Pranam or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience). Odissi Dance DramaThe next sequential step in an Odissi performance is Batu, also known as Battu Nrutya or Sthayee Nrutya or Batuka Bhairava. 6 66 It is a fast pace, pure dance ( nritta) performed in the honor of Shiva.
There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end. 6 66The nritya follows next, and consists of Abhinaya, or an expressional dance which is an enactment of a song or poetry. 6 66 The dancer(s) communicate the story in a sign language, using mudras (hand gestures), bhavas (enacting mood, emotions), eye and body movement. 67 The dance is fluid, graceful and sensual. Abhinaya in Odissi is performed to verses recited in Sanskrit or Odia language. 68 Most common are Abhinayas on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations of Lord Vishnu) or Ardhanari Stotram (half man, half woman form of the divine).
citation needed Many regionally performed Abhinaya compositions are based on the Radha-Krishna theme. 43 The Astapadis of the Radha-Krishna love poem Gita Govinda written by Jayadeva are usually performed in Odisha, as part of the dance repertoire.
6 69The natya part, or dance drama, is next in sequence. Usually Hindu mythologies, epics and legendary dramas are chosen as themes. 70A distinctive part of the Odissi tradition is the inclusion of Moksha (or Mokshya 17) finale in the performance sequence. This the concluding item of a recital. 6Moksha in Hindu traditions means “spiritual liberation”. This dance movement traditionally attempts to convey a sense of spiritual release and soul liberation, soaring into the realm of pure aesthetics.
17 Movement and pose merge in a fast pace pure dance climax. 6Basic moves and mudras. Odissi pose at Konark Sun TempleThe basic unit of Odissi are called bhangas. These are made up of eight belis, or body positions and movements, combined in many varieties. 41 Motion is uthas (rising or up), baithas (sitting or down) or sthankas (standing).
41 The gaits or movement on the dance floor is called chaalis, with movement tempo linked to emotions according to the classical Sanskrit texts. Thus, for example, burhas or quick pace suggest excitement, while a slow confused pace suggests dejection. For aesthetics, movement is centered on a core, a point in space or floor, and each dancer has her imaginary square of space, with spins and expression held within it. 41 The foot movement or pada bhedas too have basic dance units, and Odissi has six of these, in contrast to four found in most classical Indian dances. 41The three primary dance positions in Odissi are: 6.Samabhanga – the square position, with weight equally placed on the two legs, spine straight, arms raised up with elbows bent.Abhanga – the body weight shifts from side to side, due to deep leg bends, while the feet and knees are turned outwards, and one hip extending sideways.Tribhanga – is an S-shaped three-fold bending of body, with torso deflecting in one direction while the head and hips deflecting in the opposite direction of torso.
Further, the hands and legs frame the body into a composite of two squares (rectangle), providing an aesthetic frame of reference. This is described in the ancient Sanskrit texts, and forms of it are found in other Hindu dance arts, but tribhanga postures developed most in and are distinctive to Odissi, and they are found in historic Hindu temple reliefs. 6Mudras or Hastas are hand gestures which are used to express the meaning of a given act. 71 Like all classical dances of India, the aim of Odissi is in part to convey emotions, mood and inner feelings in the story by appropriate hand and facial gestures. There are 63 Hastas in modern Odissi dance, and these have the same names or structure as those in the pan-Indian Hindu texts, but most closely matching those in the Abhinaya Chandrika. The Odissi CostumeThe Odissi dancers are colorfully dressed with makeup and jewellery. The Saree worn by Odissi dancers are brightly coloured, and usually of local silk ( Pattasari).
72 It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork. 73 These sarees have traditional prints of Odisha with regional designs and embellishments, and may be the Sambalpuri Saree and Bomkai Saree. citation neededThe jewellery includes silver pieces, a metal favored in regional tradition. 74 The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with Seenthi.
73 75 Their hairstyle may contain a moon shaped crest of white flowers, 73 or a reed crown called Mukoot with peacock feathers (symbolism for Lord Krishna). The dancers forehead is marked with Tikka, and adorned with various jewelry such as the Allaka (head piece on which the tikka hangs). The eyes are ringed with Kajal (black eyeliner). 76Ear covers called Kapa or ear rings decorate the sides of the head, while necklace adorns the neck. The dancer wears a pair of armlets also called Bahichudi or Bajuband, on the upper arm. The wrist is covered with Kankana (bangles). 76 At the waist they wear an elaborate belt which ties down one end of the Sari.
The ankles are decorated with a leather piece on top of which are bells ( ghungroo). 74 The dancer's palms and soles may be painted with red coloured dye called the Alta. 76Modern Odissi male performers wear dhoti – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested, and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt. 73Music and instruments. Main article: Odissi musicOdissi dance is accompanied by Odissi music. The primary Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.
77Odissi dance, states Ragini Devi, is a form of 'visualized music', wherein the Ragas and Raginis, respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer. 78 Each note is a means, has a purpose and with a mood in classical Indian music, which Odissi accompanies to express sentiments in a song through Parija. 78 This is true whether the performance is formal, or less formal as in Nartana and Natangi used during festive occasions and the folksy celebration of life. 78A distinctive feature of Odissi is that it includes both North and South Indian Ragas, which in 20th-century scholarship has been grouped as the Hindustani and the Carnatic music. 6 According to Alessandra Royo, Odissi music integrates the music styles of the two major Indian music concert traditions, and does not have a separate systematic classification like those found in the North and South Indian traditions. 79 According to Emmie Nijenhuis, Odissi music suggests performance arts and ideas were exchanged between the North and South India during the medieval era, and Odissi accepted both as a creative crucible of styles and ideas. 80Guru Ramahari Das, an eminent researcher and performer in Odissi music counters this incorrect assumption.
He states, 'Odissi music is a lot more lyrical as compared to Hindustani or Carnatic. Just like these two forms, it has its typical feel, its unique identity.' 81 Pandit Damodar Hota also explicitly states the uniqueness of Odissi music thus, 'Like the Saraswati River that formed the “triveni” along with the Ganga and the Yamuna, Odissi was a distinct stream of music like the Carnatic and Hindustani.
It evolved from the ritualistic music of the Jagannath temple of Puri, and the 12th century saint-poet Jayadeva was a prominent practitioner of it.' Multiple scholars have systematically countered the notion of Odissi being simply a mixture of two other styles that themselves were named in the twentieth century. Guru Dheeraj Mahapatra in his paper The Unique Features of Odissi Music: An Overview mentions the characteristics due to which a music can be called 'classical' and how Odissi music satisfies those criteria while establishing its distinctive nature.An Odissi troupe comes with musicians and musical instruments. The orchestra consists of various regional musical instruments, such as the Mardala (barrel drum), harmonium, flute, sitar, violin, cymbals held in fingers and others. Odissi group performanceStylesThe Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua:.Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari (girl), or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed Nritta (pure dance) and Abhinaya (interpretation of poetry) dedicated to various Hindu gods and goddesses, as well as Puranic mythologies and Vedic legends.
82 Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. 82 This style is more sensuous and closer to the classical Sanskrit texts on dance, music and performance arts. 82.Gotipuas were boys dressed up as girls and taught the dance by the Maharis. This style included martial arts, athletics and acrobatics. Gotipuas danced to these compositions outside the temples and fairgrounds as folksy entertainment.
82.Nartaki dance took place in the royal courts, where it was prevalent before the British period. 83 84Schools, training and recognitionOdissi maestros and performersKelucharan Mohapatra, Gangadhar Pradhan, Pankaj Charan Das, Deba Prasad Das and Raghunath Dutta were the four major gurus who revived Odissi in the late forties and early fifties. Sanjukta Panigrahi was a leading disciple of Kelucharan Mohapatra who popularized Odissi by performing in India and abroad. In the mid-sixties, three other disciples of Kelucharan Mohapatra, Kumkum Mohanty and Sonal Mansingh, were known for their performances in India and abroad.
Laximipriya Mohapatra performed a piece of Odissi abhinaya in the Annapurna Theatre in Cuttack in 1948, a show upheld as the first classical Odissi dance performance after its contemporary revival. 85 Guru Mayadhar Raut played a pivotal role in giving Odissi dance its classical status. He introduced Mudra Vinyoga in 1955 and Sancharibhava in the Odissi dance items, and portrayed Shringara Rasa in Gita Govinda Ashthapadis. His notable compositions include Pashyati Dishi Dishi and Priya Charu Shile, composed in 1961. 86SchoolsSrjan (Guru Kelucharan Mohapatra Odissi Nrityabasa) is a premier Odissi dance school & training institution founded by Guru Kelucharan Mohapatra in Bhubaneswar, Odisha in 1993.
Now run by his son & disciple, Guru Ratikant Mohapatra, Srjan is committed to preserving and popularizing the rich culture of Odissi by maintaining high standards of performance & professionalism. Regular dance classes for local students & special classes for foreigners are augmented by summer workshops, performances, new choreographies & dance and music Guru Kelucharan Mohapatra Award festival organizing since 1995.IIT BhubaneswarOdissi has been included in Indian Institute of Technology Bhubaneswar's BTech syllabus since 2015 as the first Indian national technical institute to introduce any classical dance in syllabus.
87 88 89. Guinness World Records on the largest Odissi dance event.In Guinness World recordsGuinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Odisha. The dancers performed the Mangalacharan, Battu, Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire.
90 91More than 1000 Odissi dancers performed at the World Cultural Festival 92 93 March 12, 2016. This is till date the largest congregation of Odissi dancers in a single event.Odissi Centre at Oxford University. Baisali Mohanty announcing the Oxford Odissi Centre.An Odissi dance centre has been opened from January, 2016, at the University of Oxford. 94 Known as Oxford Odissi Centre, it is an initiative of the Odissi dancer and choreographer Baisali Mohanty who is also a post-graduate scholar at the University of Oxford. 95Beside holding regular Odissi dance classes at its institution, the Oxford Odissi Centre also conducts Odissi dance workshops at other academic institutions in the United Kingdom. 96 97See also. Indian classical dance.
Ghungroo. Odissi music. GotipuaReferences. ChinatownTheatrical release posterDirected byRoman PolanskiProduced byRobert EvansWritten byRobert TowneStarringJack NicholsonFaye DunawayJohn HillermanPerry LopezBurt YoungJohn HustonMusic byJerry GoldsmithCinematographyJohn A. AlonzoEdited bySam O'SteenProductioncompanyParamount-PenthouseLong Road ProductionsRobert Evans CompanyDistributed byParamount PicturesRelease dateJune 20, 1974 (1974-06-20)Running time131 minutes1CountryUnited StatesLanguageEnglishBudget$6 million2Box office$29.2 million3Chinatown is a 1974 American neo-noir mystery film, directed by Roman Polanski from a screenplay by Robert Towne, starring Jack Nicholson and Faye Dunaway.
The film was inspired by the California Water Wars, a series of disputes over southern California water at the beginning of the 20th century, by which Los Angeles interests secured water rights in the Owens Valley. The Robert Evans production, a Paramount Pictures release, was the director's last film in the United States a. 77th Academy AwardsOfficial posterDateFebruary 27, 2005SiteKodak TheatreHollywood, Los Angeles, California, U.S.Hosted byChris RockPreshow hostsBilly BushJann CarlChris ConnellyShaun Robinson1Produced byGil CatesDirected byLouis J.
HorvitzHighlightsBest PictureMillion Dollar BabyMost awardsThe Aviator (5)Most nominationsThe Aviator (11)TV in the United StatesNetworkABCDuration3 hours, 14 minutes2Ratings42.14 million25.4 (Nielsen Ratings)← 76thAcademy Awards78th →The 77th Academy Awards ceremony, presented by the Academy of Motion Picture Arts and Sciences (AMPAS), took place on February 27, 2005, at the Kodak Theatre in Hollywood, Los Angeles beginning at 5:30 p.m. PST / 8:30 p.m. During the ceremony, AMPAS presented Academy Awards (commonly referred to as the Oscars) in 24 categories honoring films released in 2004. The ceremony, televised in the United States by ABC, was produced by Gil Cates and was directed by Louis J. Horvitz.34 Actor Chris Rock hosted the show fo.
', 8th editionby M. Govindan, 2001. 216 pages with 33 color photos, 4 maps, 100 bibliographic references and glossary. Price: USD$16.95, CAD$18.38 (inc gst) plus USD$4.50 for shipping and handling to the USA or CAD$3.50 within Canada, CAD$12 for Australia. US$15.45 for overseas airmail. ISBN 978-1-895383-00-3.
6 x 9 inches.The first authoritative biography of Babaji, the immortal master made famous by Yogananda's 'Autobiography of a Yogi', an all-time best seller. Babaji lives today near Badrinath, in the upper Himalayan mountains. His body has not aged since the age of sixteen, when centuries ago he attained the supreme state of enlightenment and divine transformation. This followed his initiation into the scientific art of Kriya Yoga by two deathless masters, the Siddhas Agastyar and Boganathar, who belonged to the '18 Siddha Tradition', famous among the Tamil speaking people of southern India. This rare account, by a longtime disciple, reveals their little known life stories, ancient culture and present mission, as well as how their Kriya Yoga can be used to bring about the integration of the material and spiritual dimensions of life. Clear explanations of the psychophysiological effects of Kriya Yoga and guidelines for its practice are given. It includes verses from the Siddhas' writings with commentary.
A book which will inspire you.' An excellent contribution to the little known science of immortality.' Srinivasan, Ph.D., Professor Emeritus of Botany, Annamalai University, India.' It is the most accurate and comprehensive exposition of the ancient Kriya Yoga tradition and method published in English to date.' Ayyappan, longtime disciple of Babaji.View Complete Details. Govindan and Jan 'Durga' Ahlund, 161 pages, softcover 6 x 9 inches. Price: USD$14.00, CAD$16.28 (inc gst) plus USD$4.50 for shipping and handling to the USA or CAD$3.50 within Canada, CAD$12 for Australia.
USD$15.45 for overseas airmail. ISBN 978-1-895383-49-2.My wife, Jan 'Durga' Ahlund and I have recognized for many years the need for a book that would explain to both those interested in learning Kriya Yoga and those already embarked on its path, why they should practice it, what are the difficulties, and how to overcome them. We believe that this book will help prepare everyone for the challenges and opportunities that Kriya Yoga provides. Every one of us faces the resistance of our human nature, ignorance as to our true identity, and karma, the consequences of years of conditioning by our thoughts, words and actions.
By cultivating aspiration for the Divine, rejecting egoism and its manifestations, and surrendering to our higher Self, pure Witness consciousness, we can overcome this resistance, our karma and the many obstacles on the path. But, to do so, we need much support and insight along the way.View Complete Details. 2nd editionby V.T.Neelakantan, S.A.A. Ramaiah and Babaji Nagaraj, 2003.534 pages with 8 pages in color. Price: USD$23.95, CAD$25.73 (inc gst) plus USD$5 for shipping and handling to the USA or CAD$9.70 within Canada, CAD$22 for Australia. US$30.50 US for overseas airmail. ISBN 978-1-895383-23-2.
6X9 inches.Sri V.T. Neelakantan recorded verbatim a series of talks given by Satguru Kriya Babaji in 1953. These are a fountain of delight and inspiration, illuminating the Kriya Yoga path towards God realization, unity in diversity and universal love. They also reveal the magnetic personality of Babaji and how he supports us all, with much humour and wisdom. They were originally printed in three volumes: 'The Voice of Babaji and Mysticism Unlocked,' 'Babaji's Masterkey to All Ills, (Kriya)' and 'Babaji's Death of Death (Kriya).' Includes the fascinating accounts of the meetings with Babaji in Madras and in the Himalayas by authors V.T.
Neelakantan and Yogi S.A.A. Out of print for nearly 50 years, they are profound and important statements from one of the world's greatest living spiritual masters.View Complete Details. : 18 POSTURES OF RELAXATION', 8th editionBabaji's Kriya Yoga Hatha DVDBy M. Govindan, 2002. USD$7.50, CAD$8.40 (inc gst) plus USD$2.50 for shipping and handling to the USA or CAD$2.50 within Canada, CAD$6.60 for Australia. USD$7.70 for overseas airmail.
ISBN 978-1-895383-03-4. 8.5 x 6.25 inches.These 18 postures were selected by Babaji from among the thousands which exist to form an efficient system for rejuvenating the physical body and preparing it for the more subtle phases of his Kriya Yoga. The immortal Himalayan master is living proof of their effectiveness. Each posture has several stages, making them suitable for the beginner and experienced student. The postures are also arranged in pairs, or counterposes, facilitating the relaxation stage following each posture. This guide is designed as a handbook, wherein each stage in each posture is individually illustrated, and explained with easy to follow instructions. The numerous benefits of each posture in the healing and prevention of various functional disorders are also indicated.
An introductory chapter explains the principles to follow in their practice.View Complete Details. Govindan, 2000. Price: USD$18.95, CAD$20.48 (inc gst) plus USD$5 for shipping and handling to the USA or CAD$9.70 within Canada, CAD$22 for Australia. USD$30.50 for overseas airmail.
ISBN 978-1-895383-12-6. 6X9 inches.Patanjali refers to his yoga as 'Kriya Yoga': the 'yoga of action with awareness.' His Yoga-Sutras are universally considered to be among the two or three most important texts in the field of yoga. Until now, commentators have treated it as a philosophical reference, and have largely ignored its implications for yogic practice.
They have also ignored the fact that it is also an esoteric work, and that only initiates, with sufficient prior experience, can grasp its deeper meaning.This new translation and commentary provides a practical guide to Self-realization or enlightenment. It clearly explains how to apply Patanjali's profound philosophical teachings in everyday life, in any situation. When one practices the techniques of Kriya Yoga, it is like driving a powerful automobile. But without a roadmap, most students are 'stuck in traffic' or at 'dead ends.'
![]()
Now for the first time, there is a clear roadmap to guide the student to remarkable destinations.In Tamil Nadu and other southern states of India, there is a tradition of yogic adepts known as Siddhas, who are renowned for their longevity, miraculous powers, and remarkable contributions to an enduring culture. They have left a large body of literature, including Thirumandiram by the Siddha Thirumoolar, who was by many indications, a brother disciple of Patanjali.' Study (svadhyaya) has always been an integral aspect of Yoga.
Western students, in my opinion, need to take this yogic practice more seriously. Because of its succinctness and focus on essentials, the Yoga-Sutra is ideally suited for in-depth study. Its approach is rational, systematic, and philosophical.
By contrast, the Thirumandiram is ecstatic and poetic and filled with precious nuggets of yogic experience and wisdom. Both texts complement each other beautifully, and their combined study will be found illuminating and elevating.Govindan's book provides an excellent platform for such a study. He writes from his own long experience of Kriya Yoga and a deep love and respect for the heritage of Yoga. Marshall Govindan's Kriya Yoga Sutras of Patanjali and the Siddhars is a valuable addition to the study of Yoga in general and the Yoga-Sutra in particular. I can wholeheartedly recommend it. In particular, the growing number of students of Kriya Yoga throughout the world will find his treatment indispensable, but others will benefit from it.'
- From the Foreword by Dr. Georg Feuerstein, Ph D. Author of 'The Sutras of Patanjali' and the 'Encyclopedia of Yoga.'
'A significant contribution to the sadhana of every serious yoga student, this copious (nearly 300 pages) new work, the result of a 10-year effort, includes detailed translation, tips for integrating the lessons into one's practice, references to other commentaries, and indexes to both Sanskrit and English keywords in the text.' View Complete Details. : Deepening Your Practice'By Jan 'Durga' Ahlund and M. ISBN 978-1-895383-64-5, 108 pages, 8.5 x 11 inches, softcover with photographs and diagrams.
US$17.00, CAD$18.90 (inc gst) plus US$4.50 for shipping and handling to the USA or CAD$3.50 within Canada, CAD$12 for Australia. US$15.45 for overseas airmail.' This book provides detailed instructions, diagrams and photographs in the practice of a particular set of 18 Yoga asanas or postures, known as 'Babaji's Kriya Hatha Yoga.' The essays and instructions herein enable the practitioner to go beyond the development and health of the physical body, and to transform the practice of yoga asana into a spiritual practice, inducing a higher state of consciousness. Unlike earlier publications related to Hatha Yoga, this volume will show you how to transform your Hatha Yoga practice into a means for Self-Realization.
It introduces students to the Five-fold Path of Babaji's Kriya Yoga. This book is dedicated to Yoga students new to Kriya Yoga and also to Initiated students looking to deepen their own practice.' View Complete Details. : A CORRESPONDENCE COURSE'by Babaji's Kriya Yoga Order of Acharyas, 2005.
12-15 page monthly(12 issues). Price: USD$108.00, CAD$115.50 (inc gst) outside Quebec, CAD$126.47 (inc gst & pst) inside Quebec.
Shipping by regular mail in Canada and by airmail in USA included. Add US$28 for overseas airmail.Babaji’s Kriya Yoga offers to initiated and non-initiated students of Yoga a monthly correspondence course which is designed to deepen your understanding of the principles and practices of Yoga. The course is designed to widen our perspective of our practice at all levels physically, vitally, mentally and spiritually.
It introduces the right use of will to change the course of your life. In so doing it will help us to understand how we practice Babaji’s Kriya Yoga not only for our own benefit but also for the benefit of our families, friends and benefit of the world at large. Our practice of Hatha Yoga, Pranayama, Meditation and Mantra Japa takes us to the Self. This correspondence course is such an instrument, it is a time to begin a process of sharing Grace and Love. For one year, you will receive by mail, each month, (12 issues) a course of 18-24 page developing a specific theme, which builds on each other.View Complete Details.
![]() Comments are closed.
|
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
February 2023
Categories |