FEMALE DIVINE SPIRITUAL POWER AND AUTHORITY in sanskrit, written in the BONJI/Siddham buddhist scripts used in Japan.
For millennia humankind has looked to the celestial spheres as a place of divine music, to a place beyond this world where tones exist in the great void of deep space. In my own way, I too expect that near the black hole is a beautiful symphony of slow tones that move beyond time.
Throughout mythology, religious archetypes and cultures of societies everywhere on earth, sounds are ritualized, recognized, formulated and placed within the context of sacredness. Music is recognized as divine. In some cases, as expressed by the choirs of angels, and in others, as in the cases of the Vedic religions such as Buddhism and Hinduism, music is recognized as a form of deity. This paper will express some of the aspects of the divine feminine as she is recognized musically. My main focus will be in the Buddhist and Hindu religious pantheon, and my reference is both Vedic and tantric; the Kali Sahasranama stotram.
Aspects of providence include ability to heal all illnesses, to move from all perceived negative states, and to transcend all concerns of body and mind as well as suffering in all of its forms. For those who maintain a goddess centered lifestyle, they recognize the divinity of the cosmic mother, the earth mother, the spirit mother, and the Goddess in all forms as she appears. To connect with Goddess further, I will begin to briefly explain cosmic sound healing.
Considering that all that exists in the perceivable universe is energy and matter in the great oneness and apparent duality, the expression of existence of all beings and all phenomena includes sounds and music. Music is frequency and time, along with pauses and movement and layers increasing in aspects of volume and speed and varying with pulses and rhythms and forms of sequencing tones that we call melodies. And we think of them as sad or happy oftentimes, or both mixed and we apply ideas and concepts to them, to further complicate their existence. But, as beauteous as they are, they also are waves of sound. Sounds travel in wave forms. And solid matter, solid mass, is inversely proportional to light energy, as we understand particles and waves in their solid and electromagnetic states.
All states of all existence are known as Goddess. And when she takes the form of sound, those are the sacred vibrations which are known to have the power to heal. Fundamentally, I examine closely the Sri Kalisahasranama stotram, whereupon the one thousand names of the Great Mother Goddess are contained. It is beyond the scope of this short assayance to express every name ever given across all centuries and all languages on Earth; but these names are meaningfully expressed to me in Sanskrit, as I know them through Hindi, which is known as the ‘language of song.’ The language of song derives from its mother Sanskrit where these names of the Goddess descend down the ages handed down from teacher to student across millennia.
For those interested in cosmology; Goddess is literally in the form of vibration. When she exists in sound form, some call that bija. Bijarupa is one of her names which suggests that she takes the form or rupa of sound itself. So, as each stellar configuration and cosmic object has a frequency and a sound identity, the Goddess is expressed in that particular form or configuration, and it is then that she is identified with a unique bija. The word bija additionally means seed. Ideally this seed is the tonic, the modal center of the song. And Goddess loves songs. The cosmos is a divine musical ordering, each planet and celestial body sending a unique frequency which reaches earth as sound and light both.
For those interested in the meditative practice, I have conducted sadhanas (extensive rituals) and pujas (prayer offerings) always with sound and music as part of the vehicle for energy movement. At this time I have three means whereupon the sound form of Goddess is deeply ingrained in my practice and consciousness.
In one way, I listen to the tones, and achieve samadhi, what is called rigpa or perhaps gnosis to the western spiritualists. This possibly can be expressed as deep trance-state. With music, I lose my ego and completely dissolve into the greater vibration of the cosmos. For tantrikas, this is the secret of dissolution that will allow the space for compassion to arise.
In another sense, I use music as the sacred offering for my ancestors, for all sentient beings, and for whatever specific healing purpose I would aid or send aid to another; in this shamanic way, the music pacifies the problems of spirit which can cause bodily ills.
In the tonal sense, I intone the Goddess inside my voice box, literally invoking her inside of my body, being a part of her, and partnering with her, as she is part of me. That oneness, is the absolute state; it is called anuyoga tantra, or it is called evocation or possession by spiritualists, but ultimately, it calls to the divine feminine energy principally known as Goddess by intoning her. Intonation is in the body. For example, if I want to aid to heal someone, I will use a frequency for a planet that I know will help in healing. Thus, the frequency of the planets which have their own tonal sound I intone in my body, thus adding the celestial object’s power- which is the form of goddess as planet to the sound form of goddess, as I call to her from inside myself. I heal from a place of compassion this way.
For those looking for a way to practice the healing gifts of the goddess, I will list a few sound healing techniques that I have seen work with positive results in a corporal sense.
There was a time when I had seen bells placed above body parts that specifically were injured. One such event was a twisted ankle where the person was hospitalized and couldn’t walk, but with crutches. What I observed mainly was a drastic reduction in inflammation and pain after the healing took place with the bell.
Another time I knew of someone with a torn meniscus and in their own sound healing practice I have seen a bell rung again and again to stimulate the energy body directly over the tear. This conveys the energy stimulating it using the sound waves as a vehicle for the intent. In this way the mind also programs the body using the frequencies as a means towards healing.
Yet another time I had witnessed a work using crystal and brass bowls engraved with sacred syllables symbolizing tones. These bowls were struck with a mallet while hovering over the body. This method is known as a way to focus energy to allow sound to remove illness, as well as lethargy involving toxins of the blood. Not only do tones purify toxin, but sound absolutely heals injuries especially by warming and energizing the circulatory system.
I have personally sung to different energy centers in my body, only to see and feel the effect of their enlivening and awakening. I have seen pendulums swirl over parts of the body to aid in their healing as well as increase blood flow and decrease inflammation. Personally, I have used song and tones to aid remotely with sleeplessness as well as migraines, only to hear that conditions were cured, and that wellness was achieved from the blend of tone and intent.
The tradition of singing to Goddess in a way that expresses connection to her, to nature, and to all beings is also an ancient shamanic practice. For some it is known that songs can aid in malefic weather patterns, as well as turn around plagues. It can be deeply personal, as with the tradition of Hindu aarti or it can be devotional community group singing as with kirtan. In many cases the patterns of songs in secular or religious circles are historical expressions of individuals gathering as a group to raise their voices in joy. They move energy together to effect events with great power of combined intention to collective peace, love and beneficence.
Within energy-work through songcraft, In the spiritual practice of the divine feminine the many names of the goddess, manifest power. Those names themselves ring out and express specific cosmic identities as well as stellar configurations in all times and worlds especially as we intone them in our bodies through our spoken voice. These sacred Goddess names have meanings that not only express definitively what form of sound the goddess takes, but also are a description of her. In identification practices of yoga, these identities are understood as mystical perfections or powers that can be granted and taken on into the individual. One method of that is to dissolve yourself first so as to give space so that Goddess can arise.
For the practitioner as a healing technique, I will list powerful names of Goddesses that can be directed towards healing and energy work in the physical as well as emotional, spiritual and psychological aspects of a person’s identity. As per any practice, guidance discretion and expertise are necessary along with critical discernment.
The first Goddess I name is Ma Durga. Just as the awful case of a shrapnel embedded in the body has a healing element of removal surgery and another healing element of stitching and slow healing, the process of entering into a new energetic state of health can also have several steps. To honor this healing tradition I first name Ma Durga, who removes all illness, and all physical obstacles barring our spiritual and material progression forward and beyond. She is known to aid in all healing as well as being the saviorless of people in distress. To directly connect with her frequency, I advise the sound form of Goddess where she is expressed as mantra. The mantra is a form of Goddess accessible through sound. Often it is expressed as part sacred name and part sacred tone. I recommend Aum Durgaya namaha. This mantra opens with the Aum sound which is a recognition of the three sounds ‘a’ ‘u’ ‘m’. This represents the three minds; consciousness, unconsciousness and deep consciousness, the three times, past present and future, and the three worlds, heavens, hells and earths. Further, the mantra names Ma Durga, the goddess who can uproot all illness and destroy all imbalance, invoking her essence of sound reality into your body. This connects a person to the Goddess and allows for absolute vibrational attunement inside the body, releasing density from places inside the astral and noetic as well as causal and akashic bodies. There are energy bodies of varying types that can benefit as well as our emotional, psychological and physical states. Meditation benefits all, and connection with the divine feminine source of Goddess as pure sound, is a fluid and fast way to see a result while connecting to goddess inside your body as energy at once.
As my direct experience of Goddess has occurred through sound and music, the remainder of this paper will express a few of my most adored names of Goddess in her form as pure music. May all come within her form as sounded names of healing frequency.
Her name is Gitapriya when she is the beloved of songs. The upwelling of joy from a simple sound she greatly enjoys. We can join into her joy there, and open ourselves to the great bliss that is our own received offering of our union with her and with the purity of bliss itself. Our spirits too love songs as we are that joy. So we enjoin our true nature here.
Her name is Gandharvi when she sings the celestial divine tunes. Many mythologies express that the sacred celestial tones are and were the means of cosmic creation. Goddess sings existence into being. And we sing and then join her in creating. This divine and cosmic mother brings me bliss to name as song is one of the first expressions of tender love that a mother can give to her child. I have read that there are traditions that sing a child into existence even before conception. The song is a sacred form of creation.
Her name is Ghora when her sound is extremely loud and perhaps even frightening. Her name is Lingini when she is subtle beyond subtle. In this dichotomy of opposition we see that the whole and the entirety of the spectrum of wave amplitude, symmetry and equilibrium is perfectly expressed balance. Nothing and no one is left out. All is allowable, all are invited.
Her name is Sarasvati when she is all healing music; her home is the healing cosmic ocean. Her name is Mrdani when she is the rhythm of all existence. expressed in all possible manifestations of musical rhythms. Her name is Kalamanjirashinjini when she enjoys the timed tinkling of tiny hand cymbals that accompany devotional chanting and song.
Goddess is in every aspect and in every avatar, in every personality and in every expression. She is melody and rhythm both as vibrations in the cosmos, aiding our ailments expressed through sound. Our human existence knows apparent birth and growth and aging. We experience that we are subject to time. With wishes that all are separate from suffering and connected to happiness, I offer to you readers the final expression of sound healing.
Time heals and soothes all aches and pains. Kal means time. Music and human existence are expressed in time. Her name is Kali when Goddess is expressed as beyond time; controlling it and holding it within her- fully and ultimately. Kalima is the cosmic mother who will see us through all of our times in this world and beyond it.