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Leonard Howell – The First Rasta

Leonard Howell (6/16 1898 – 2/25 1981)

Leonard Howell, known as the founder of the Rastafari movement, was born in Clarendon, Jamaica. On November 2, 1930, Haile Selassie I was crowned by the emperor of Ethiopia. Howell interpreted this as a fulfillment of the words of Marcus Garvey when he said in the 1920’s, “Look to Africa for the crowning of a black king, He shall be the Redeemer!”

In 1933, Howell founded Rastafari movement in Jamaica with Joseph -, Arch Bold Dunk and others. Howell was accused of sedition due to this activity, and was captured by police authorities for 2 years, but even after prison, he fought with the power of Jamaica and developed Rastafari movement.

[Early life]

Howell was born on June 16, 1898 in May Crawle village in the Bull Head mountain district of upper Clarendon in Jamaica. He was the eldest of a family of ten children. Charles Theophilus Howell, his father, worked as peasant cultivator and tailor. Clementina Bennett, his mother, worked as an agricultural laborer.

During the First World War, Howell worked as a seaman and served as part of a Jamaican contingent sent to Panama. Before temporarily settling in Panama in 1918, he travelled back and forth between New York City and Panama several times. While in New York he became a member of Marcus Garvey’s Universal Negro Improvement Association (UNIA) after being confronted with his identity as a black man in Harlem for the first time and meeting Garvey, the revolutionary UNIA leader, in person.

Howell lived abroad for a total of some twenty years in his early life, during which time he was arrested and jailed for his involvement with the UNIA because the organization’s pro-black messages were viewed as threatening. After migrating to Panama and the United States, he eventually returned home in December 1932 at the age of 34 after being deported from the US. He was deported because of his involvement with the UNIA, which was perceived as threatening by the US government, due to the organization’s messages of black power and anti-colonialism. Upon returning to his homeland, he decided to leave his family home and spread the word about Rastafarianism. This decision to break away from his home was due to a conflict between Howell and his family, presumably because of his controversial belief in the divine nature of Haile Selassie I of Ethiopia.

[Rastafari evangelism]

Howell’s first public articulation of the divinity of Haile Selassie occurred in January 1933. This first open deification, which proclaimed the Emperor of Ethiopia to be the incarnation of God, took place at “Redemption Ground” in Kingston but was not successful in gaining converts.

In February 1933, Howell relocated his meeting to a southeastern parish of St. Thomas and two months later, on April 18, he addressed about two hundred people at a meeting in Trinity Ville, St. Thomas. During this meeting, police were present to monitor and control the event, which they deemed to be of a “seditious nature.” Despite concerns, authorities chose not to press charges against Howell so as not to draw extra attention to his movement and decided instead to closely monitor him.

According to Howell and his followers, Emperor Haile Selassie I of Ethiopia was the “Black Messiah” – an incarnation of God predicted by biblical prophecy. Howell believed that the grand coronation of Haile Selassie (who was widely traditionally claimed to be the descendant of King David, King Solomon, and the Queen of Sheba, in part due to the medieval Ethiopian text Kebra Nagast), was the realization of a prophecy. The grandness of the emperor’s ascension to power appeared to validate Howell’s imperative claim.

Howell’s teachings often began with background information about the people, land, and sovereignty of Ethiopia as an unchanged land populated by original, primitive Christian people who were under direct rule of a king who was a direct descendant of King David. He idealized Ethiopia in his preaching, calling the country a land with unmatched people and a perfect language, the sole uncorrupted language on Earth. Howell emphasized the coming of a new civilization based upon and founded in the glory and power of Haile Selassie, the “Supreme Black King.” He instructed his followers to adore the Ethiopian emperor as the supreme God over all of humanity. In Howell’s view, it was through Ethiopia that the truths of good character, social order, manhood and womanhood were preserved and were unfolding for all to see. Howell preached that Ethiopian culture was re-emerging to overtake hegemonic Anglo-Saxon forces that had kept Africans enslaved.

[Core values, leadership, and social network]

Among his followers, Howell preferred being called Gangunguru Maragh or G.G. Maragh to distinguish his ritual, mystical personality from his secular identity. Howell’s ritual name is thought to be a combination of three Hindi words – gyan (wisdom), gun (virtue or talent), and guru (teacher). In Hindi, Maragh means “great kings” or “king of kings.” Howell used this name as a pseudonym when he published The Promised Key.

In a meeting at Port Mortant, St. Thomas, on September 1933, it is recorded that Howell held a meeting that began with the singing of hymns. Then, Howell reportedly taunted clergymen of other religious denominations at the gathering and discouraged people from attending church because “ministers were liars.”[11] He also spoke critically of slavery, claiming that “the White man stole Africa from the Africans, and that Black people should think that Africa is their home, not Jamaica”.

Howell’s message of praise for Emperor Haile Selassie also came with an open call for black supremacy as a way to combat colonialism and reject oppression by whites. At times, Howell would ask his congregants to join together and sing “God Save the King” – the king being Haile Selassie. Howell’s central doctrine acted as a force against white colonial ideology due to his placement of blackness as morally superior to whiteness, as is explained in his widely read publication, The Promised Key.

Howell is remembered as being a charismatic and authoritarian leader who sincerely cared about the wellbeing of his followers. In 1937, Howell founded the Ethiopian Salvation Society (ESS) whose objective was to use collective savings to better its members. A secondary purpose of the ESS was to help spread the good news about salvation and Christianity and underscore the value of self-help and good citizenship. These secondary purposes were expressly stated so as to shield the organization from suspicion that it was promoting sedition. Nevertheless, in 1940 the Jamaican governor responded to pressure from the colonial secretary and the labor leadership by officially banning a meeting of the ESS due to the resentment the organization was creating as well as its internationalization.

In addition to his leadership role in the ESS, Howell served as a role model and father figure for the growing Rastafarian community. His audacious, generous personality, combined with his well-travelled background, made early Rastafarians particularly receptive to his messages. Howell brought “the hope of a new generation, one which was inspired by the magnificence of the new Ethiopian emperor.”

To expand Howell’s Rastafarian network, he formed relationships with other black groups such as the Afro-Athlican Constructive Gaathly and the UNIA. Additionally he collaborated closely with other icons of the Rastafarian movement such as Marcus Garvey and George Padmore, a Trinidadian journalist.

Howell’s appeal for identification with Africa was in opposition to concurrent movements in Jamaica promoting a Jamaican creole nationalism. Howell positioned himself as an opponent of the labor nationalists Bustamante and Manley who had gained a substantial following among the working class. Howell preached to both the working class and the peasantry in Jamaica, attempting to unite disenfranchised black people to overcome colonial oppression. Jamaica’s independence in 1962 (which nevertheless maintained social, political and economic ties between Jamaica and Great Britain) was largely a disappointment for Howell, who had called for the complete severance of relations with imperial Britain.

[Trials and punishments]

In January 1934, Howell and Robert Hinds, another pioneer of the Rastafarian movement, were arrested and charged with sedition due to their gatherings and speeches at a meeting of 300 people at Seaforth, St Thomas, on December 10, 1933.

Howell was put on trial for sedition on March 13, 1934, and pleaded not guilty to openly expressing hatred and contempt for the Jamaican government and the King in addition to disturbing public peace on the island. Howell defended himself in court, using a photograph of Haile Selassie as evidence. During this historic trial, Howell is remembered as being the first person to declare that Haile Selassie was “the Messiah returned to earth.” Ultimately he was sentenced to two years in jail for sedition by the Jamaican chief justice, Robert William Lyall-Grant.

Later, in 1938, Howell was sent to a mental asylum in Kingston called the Bellevue Aslyum after being certified as insane for the inflammatory statements he published in his book The Promised Key. In this publication, which was released while Howell was still incarcerated, he labeled the Roman Catholic Pope as “Satan the Devil” and created the impression that war was being declared against colonialism and white supremacy – which Howell asserted should be replaced with “Black supremacy.” Furthermore, he openly objected to locally created religious systems like Revivalism and Obeah, a Jamaican folk practice. Although small, the book was powerful and very popular to the dismay of the Jamaican government.

As one of the most charismatic and outspoken of Rastafarian leaders, Howell was incarcerated at notably higher rates than other pioneers of the Rastafarian movement, such as Joseph Nathaniel Hibbert and Hinds. Described as “the most persecuted Rastafarian to date,” Howell suffered considerably under constant state surveillance because of his Rastafarian teachings. Due to his repeated imprisonment and persecution, he suffered the blow of being absent during Haile Selassie’s 1966 visit to Jamaica.

Especially threatening to the powers that be was his prophetic call for people to destroy the legitimacy and might of the British empire and international white supremacy, a message that caused people to reconsider their for identity, agency, and socio-political mobilization in Jamaica and elsewhere.

[Creation of Pinnacle Community]

Following his release from prison for his teachings of black power and denunciation of colonial rule, Howell created the first Rastafarian village in Jamaica at Sligoville, St. Catherine in 1940. The settlement was called “Pinnacle” due to its high hilltop elevation and was symbolically located in the first free village established to house former slaves in Jamaica. Pinnacle was one of the country’s first self-sustaining communities, its community members were able to meet their needs without dependence on outside resources. Some refer to Pinnacle as a commune, in which Howell’s form of socialism was practiced. Soon after its foundation, other similar Rastafarian communities were established across the country. Pinnacle was especially known for the cultivation of ganja (marijuana) that has religious significance for Rastafarians.

In efforts to shut down Howell and his followers, police raided Howell’s community of Pinnacle multiple times and labeled the community a “communist experiment” in 1941. Just one year after the creation of the settlement, government forces infiltrated and arrested many of Howell’s followers. After escaping immediate arrest, Howell was eventually arrested and tried once again for sedition and consequently was faced with two more years behind bars. Upon his release in 1943, he returned to Pinnacle once again. Howell hired guards and brought in watch dogs to protect Pinnacle from future attacks.

The police raided Pinnacle several more times in the 1950s. In 1954, militia invaded the community and almost completely destroyed the village. Even after this mass destruction, settlers returned, though the settlement was never restored to its previous thriving state. During a final raid in 1958, the police cleared out the remaining residents completely. Despite its ultimate destruction, the impact of the settlement made it legendary among other settlements around the country, who were observed to have been “miniature Pinnacles.”

[Alleged disappearance and ongoing legacy]

Some claim that Howell disappeared from public sight between 1958 and 1960, completely dropping out of his role as a Rastafarian leader. Accounts that he was neither heard from nor interacted with between this period and his death in 1981 have been challenged by historians who examined his life, however. Even after the final major raid of Pinnacle and Howell’s confinement in a mental asylum, he reportedly continued in his leadership of the Pinnacle community and as a Rastafari foundational role model, as evidenced by his role as a defendant in several cases at the Home Circuit Court, Kingston, regarding disputes about his ownership of Pinnacle.

Today Howell is remembered as a pioneer of the Rastafarian movement. Additionally, in honor of his values and persistent fight against colonial authority, he is seen as a leader of Pan-Africanism. To fight for his remembrance, the Leonard P Howell Foundation was created to “perpetuate and honor the memory of Leonard P Howell.” The Foundation calls for the restoration of a portion of the Pinnacle Property so that it can become a UNESCO world heritage site, an international Rastafarian worship and research center, and a monument in tribute to the vision and leadership of Leonard Percival Howell.

Hindu Influences on Rastafari

There is only one Jah, one God with Infinite Names.

Aristotle referred to the Ethiopians as a people of both Kush (Africa) & Sind (India).. Queen of Sheba ruled over the land of Sheba/Shiva/Saba.. the indigenous traditions of the Sabians was ancient African Shiva & Shakti worship.

To overstand the issue with iconography verses idolatry one must know the difference between a graven image & sacred murti, the ancient Egyptians had a similar practice as Hindus when they would designate specific icons for temple worship and a ritual is performed where the breath of God/Life is breathed into the icon and thus the image becomes a living deity… that being said.. when Yeshua went to India, he learned about the sacred science behind murtis, mandalas, Hindu & Buddhist symbolism and yantras, mantras and pujas BUT he also saw the corruption of the caste system & how the elite class of Brahman priests and people in general would worship and lavish great riches and honor to their stone icons but treat their fellow brothers & sisters like animals or worse.. thus Yeshua preached a razor edge distinction regarding this.. and emphasized to the people that the real deity to be worshipped is within the heart of all living beings.. the so-called low caste folks (Dravidians aka Lost Tribes of Israel) loved Saint Issa, as they called him in the East, but the elites didn’t like what he was preaching at all (threatening their hierarchy of power), and the story goes that then Yeshu had to flee from some of these areas of India to the Himalayas and stay with some Buddhist monks whom agreed with his teachings on rejecting the caste system. These stories can be found in The Aquarian Gospel of Jesus Christ, The Unknown Life of Jesus Christ, The Christ of India & various other manuscripts that have been hidden & repressed for centuries. The secret archives of the Vatican has several of these various manuscripts as well as ancient icons/murtis of these connections and sadly many of these manuscripts were destroyed in the 2 worst literary holocausts in history.. the burning of the library of Alexandria & the burning of the Saint Thomas Christian’s library in India, both burned down by the Roman Catholic Church.

When Haile Selassie, the emperor of Ethiopia was gifted with a Ramayana by an Indian sannyasi, he smiled, and said they were all descendants of Lord Rama. He explained how the Ethiopians are called as Cushites, or coming down from Kusha, a son of Rama. The country is called Kushadwip, or the land of the son of Rama.

Ethiopians admit their ancestor as Kush, and they quote the Biblical story of Cush being a son of Ham (a phonetic misnomer of Ram). This only confirms to the widespread influence of Ramayana, even in a land that is 3000 miles away from the mainland of India.

Kemetic Yoga is the OG Sanatan Dharma brought from Ancient Kush (Ethiopia) to Ancient Sind (India) by the Dravidians in the first major human migrations out of Africa, and they founded the Indus Valley Culture & city of Harappan (Hara is a name of Shiva & Pan is an archetypal god often linked to Shiva) which was one of the most advanced in the ancient world, later it was the Aryans from the north that brought in many new ideas and later subjugated the Dravidians with the caste system. The Dravidians were mostly agricultural people who worshipped the Mother Goddess & Pushupati (Lords of the Animals) aka Shakti & Shiva in their indigenous African-Dravidian forms similar to the ancient traditions of the land of Kush/Saba/Sheba/Shiva but the Aryans were hunter/gatherers & would invade and conquer wherever they went, their pantheon was more War gods & Sky Gods like Indra and Surya.. these two traditions were eventually synthesized / merged to form modern Hindu religion. But the true mystical path of Sanatan Dharma is what the Sadhus (Holy Men) & Rastafari trod.. the lifestyle and consciousness of the Natural Mystic as Buddha, Krishna & Yahshua the Christ taught us.

Watch Yogiraj speak on his rare meeting with Haile Selassie I after his supposed death :

Read about the how the Ancient Hebrews worshipped Shiva here.

Leonard Howell also known as Gong Gang Guru Maharaj aka The First Rasta

Read this thesis paper on the “Hindu Influences on Rastafari” for more relevant information about Leonard Howell’s influences on Rastafari and his connection to Hindu ideas and traditions.

Baraka Kirtan – The Art of Spirituality

Baraka Kirtan – The Art of Spirituality (revised)

by Antonya Wallace (Anth-E200) 12/7/2010

Introduction: Baraka: a blessing, the essence of life, soul power. It’s a Thursday night, and while most people are headed out to the bars, I’m making my way across town to Sakshi’s house to sit in during a Baraka Kirtan performance. Kirtan is an ancient Indian tradition based on Bhakti Yoga, which uses music and chanting as an avenue to spiritual enlightenment. As I enter the house the smell of roasting vegetables, marijuana, and halava fills my nose. I later learned that food is almost always present and sanctified so that it can be offered to God. They believe that when one eats sanctified food, that the food purifies the soul. Since Kirtan has roots in India there isn’t any beef (or any meat for that matter) being served, due to their animals sacred role in India. Yet, not all Kirtankars (one who practices/performs Kirtan) are vegetarian. It just happened that everyone in attendance tonight was. Another thing that everyone shares is the use of marijuana, which is smiled upon, as it is believed to promote enlightenment, drive the music, and as an added benefit, make the food taste even more divine. Smoking was also used socially to bring everyone together to prepare for the beginning of the ceremony. I was only there to observe so I did not enhance my chances of enlightenment.

I thought it was important to note that as I entered the room; warm faces, hugs, and a plate of food greeted me. That hospitality was due in part because Sakshi used to be my neighbor and he was the first person I met when I moved to Bloomington. But the royal treatment wasn’t reserved just for ex-neighbors. As I sat watching I noticed that the Kirtan community is open and loving to everyone. As each person entered Sakshi’s house they were greeted by first name, a hug, food, and an offer to play music. I decided that I would not participate in the event so that I could have an etic point of view. I pulled up a chair slightly to the side of the group and began my observations. The heavy smell of incense being burned drowned out the colorful smells of food and ganja.

I really enjoyed the scent of the incense so after the event I asked what it was. To my astonishment it was part of another practice that I was completely oblivious to. “Agnihotra is a Vedic yajna and involves the burning of cow dung and ghee butter in an inverted copper pyramid at dusk and dawn precisely, while chanting Vedic mantras. Properly performed, this ritual according to the Vedic tradition brings about enormous healing and purification of the environment. The Agnihotra is a powerful yajna that in my experience brings about a deep sense of peace. This 5-minute process feels like coming out of an hour of meditation. It’s a grounding practices and assists in uncovering the real Self, hidden underneath all of the mental chatter. The fact that the dung of the cow is such an important part of this process is really significant given the way this culture brutalizes and tortures these sacred creatures” (ecovillage.wordpress.com). It seems that this practice speaks to the Kirtan community’s “love-all” mentality.

I learned that it was a good practice to do the Agnihotra before the real ceremony began, so that everything is cleansed. I learned, “The rites of the Morning-Agnihotra are almost the same as the rites of the Evening-Agnithotra; but, in many instances, the formulas uttered by the Adhvaryu or the Sacrificer are different” (Paul-Emile Dumont). I was only there for the evening Agnihotra so I cannot compare the differences with the morning ritual.

As the musicians began to take their seats, they ditched their shoes and sat in a semi-circle. The audience comprised the other half of the circle, therefore creating an atmosphere for the call and response style of the music. The simple act of sitting on the ground in a circle is an example of universal primitive behavior. Speaking generally, almost all ancient human groups have sat communally in circles during gatherings. Circular shaped atmospheres bring the listeners directly into the experience. They stop being just listeners, and become participants. The circle encourages each person to look into another’s eyes as they are beckoned to respond to the singer’s calls.

Each “Baba” grabbed their respective instrument; Sakshi Gopal Das on the harmonium, Arun Baba on the bansuri (a type of wooden flute), Zen-G on the guitar, and Ras D Hanubaba on percussion instruments, including the tabla, mridanga, djembe, and kartals. Kirtan events can be played in any musical style with any instrumentation. Baraka Kirtan chooses to stick with more traditional instrumentation on most nights. They also perform many different styles on their CD. Some of those styles include non-traditional instruments such as, electric guitars, bass, drums sets, and digital voice alterations. The style that they choose for each performance is generally based off of their mood that day.

The music begins and the first song (always) is Hare Krishna. Hare is the feminine energy of God, and Krishna means “all attractive one”. During the opening song, “a simple melody is repeated many times at continuously faster tempos and greater volumes until a climax is reached, at which point the whole process may begin again with either the same or a new melody…commonly a line of melody was first sung responsorily four times – leader, chorus, leader, chorus – before proceeding to the next line of the melody… [then] the whole procedure would start over…but at an increased tempo” (Slawek 80). Tonight’s leader, Sakshi sang,

Hare Krishna Hare Krishna

Krishna Krishna Hare Hare

Hare Rama Hare Rama

Rama Rama Hare Hare

The, the audience, some with eyes closed, some staring, some praying, would all participate on during the response. Everyone was completely indulged in their own self-awareness and spiritual being. The sound of all the voices in unison had a surprisingly rich tone. It was nice to be at a ceremony where everyone felt the freedom of creativity and experimented with harmonies, and adding their own flares to each response. The allowance of creativity offers everyone a unique personal experience for his or her spirituality. In some instances if the audience is really enjoying the performance, “The chorus of talkaris (kirtan) often interrupts the kirtankar’s sermon with the singing of a topically relevant abhanga and may take over the performance of a song that a kirtankar has begun. In fact, a warkari kirtankar can easily deliver an entire kirtan and only sing a few solo lines of the song” (Shultz 309). Since Indiana doesn’t have a very large Hare Krishna movement going on underground…Sakshi was more than welcome to solo until the cows (who weren’t eaten J) came home.

Main Argument: While I sat there watching everyone divulge all their energy into devotion through song, I found myself wondering why a genre of music that provides so much peace to people is not more mainstream. In fact, I can’t recall a time that I’ve ever heard Kirtan music on the radio, except when Sakshi would call me and tell me to tune it to Bloomington’s public radio station when Baraka Kirtan was playing.

Sakshi said that Kirtan is actually becoming a new genre in popular music, whereas before it was seated in the world music category. It seems that Kirtan’s growing popularity is due to its message of love, peace, and self-awareness; which can be contrasted by the mind numbingly idiotic music blaring on B97.7 day and day out.

I don’t want to come across as a racist person but I did notice that everyone in attendance (with the exception of me) was Caucasian, and none of us were from India. So my research question would have to be, How did an Indian tradition that’s not very well known, become a subculture in the United States? What makes this music more popular than other forms of world music?

Theory: Those who practice Kirtan disregard arbitrary attributes such as gender, race, sexual orientation, ethnicity, or religion. Kirtan is a catalyst to deeper spiritual awakening. People are instantly drawn to the ideology of togetherness that Kirtan offers. While most religions in our society offer a “Get Saved or Burn for Eternity” methodology, Kirtan’s job is to improve each person’s relationship with their own spiritual power.

Unlike most organized religions in the world, which ask you to abandon any other religious beliefs that may conflict with their doctrines, Kirtan lets you keep any, and all your beliefs. The point of Kirtan is to deepen your own spiritual awareness, in order to facilitate a deeper understanding of the spirit, self, and even other religions. It seems that since Kirtan offers such a contrast to more popular well-known religions like Christianity, Catholicism, Judaism, etc…that people are also attracted just to get a taste of something new. Kirtan differs from other world religions in that they have never gone on some “convert or die” crusade. Instead of seeking out new members, they let the members seek them out, and then welcome them into their community with open arms. This method of gaining followers actually appears to have gained more devoted participants because each person is expected to find their own path into the Kirtan realm. If you want to become a part of the Kirtan community you have to make an effort to do so, unlike getting saved at a Baptist church which could be likened to going through a “McSalvation” drive through. Literally, anyone could walk into a church at any time and get saved, as many times as they want…without any real impact on their spiritual receptiveness.

Kirtan offers a tailored experience to each person. The natural feel of Kirtan takes away the hierarchal feel of organized religion. For example, the musicians take off their shoes before they play, everyone sits on the floor together, and shares food. It seems that those actions level the playing field between audience and performer, devotee and sit in, old and young, etc. Other factors that attract people to Kirtan are their love of the environment and preservation of ancient practices.

In the days when going to church has become “the thing to do” and if you don’t then you’re damned, people miss out on a real and physical connection with their spirit. From what I’ve seen many people just go to church to maintain their reputation, or they go but don’t practice what is preached. Churches have become kind of like fast food chains, in that they cater to the masses instead of the individual. The strength of major world religions seems to lie solely in the number of followers as opposed to the devotional strength of said followers. To see devoted followers, head over to a Kirtan event. Before going to the event I had no clue why it was growing, but now I understand that the personalized feel and unique musical styles is driving it to become a more prevalent part of our society (and most likely, many others).

Methodology: Being in such a laid back atmosphere, I thought it most appropriate to just jot down a few notes here and there, and casually start conversations. I began by asking Sakshi what Kirtan means to him. I used the genealogical method in a very loose sense so that I could get a grasp on which he learned from, since he was not born into the community. He actually mentioned that he thought it was a bit funny that here are four Caucasian men observing an Indian tradition, and really using it as a way of life. They have at times been misunderstood, but they simply just want to respect and enjoy the aspects of another culture.

I only observed during the event so as to remain neutral to my experience. We also met at Laughing Planet one day so that he could clarify the words of the songs for me. After talking to an insider, I thought I would interview someone who had no previous knowledge of Kirtan. I talked to Samy Estrada, who gave me her brief thoughts on the atmosphere and preaching of Kirtan. Since she was unable to actually attend the event with me, I asked her to watch one of Baraka Kirtan’s online performances. Since she is also a dancer I asked her to describe the music. She said, “the instrumentation was really unique, I wasn’t sure what to expect. I thought that it might be kind of lame because it was just acoustic instruments; but toward the end when they picked up the tempo it really got funky! They have a really cool message too” (Estrada)!

The rest of my research was done on www.BarakaVision.com, the band’s official website. I used this page to access the band member’s bios, mission statement, and preferred instruments. I also read a few articles on www.jstor.org so that I could read about Kirtan from an Ethnomusicologist’s and Ethnographer’s point of view. These pages gave me insight into more of the cultural implications and history than I could have gained in personal interviews. I couldn’t find much information about Agnihotra so I used www.google.com which led me to a brief review on ecovillage.wordpress.com about the book “How to Save the World”, by Peter Proctor, a biodynamic farmer.

Data Analysis: First, I needed to satisfy my curiosity about how Sakshi even got involved with the Hare Krishna movement. He said, “I was attracted to it years ago due to its instrumentation; especially the sound of the harmonium (which looks like a Dr. Seuss instrument), the message, and the ancient prayers which made me feel in tune with my ancestors” (Sakshi). I accessed his biography on his webpage for more insight on his background. “he lived and studied with many Elders and Mystics (including Ras Pidow, Dr. James E Mumford, Srila Turiya Das Mahasaya and more). Lived and studied at several Ashrams, Temples, and Binghi Camps across North America, Jamaica, Hawaii, and India. In the summers of 2002 and 2003 he traveled across N. America with a traveling cultural festival called “The Festival of India” in which he was a main contributor of set-up and break-down, cultural plays, food distribution, chariot-parading, and sacred chanting. He has been in several musical projects, including: Baraka Kirtan, Santos and the Saints, The Nyahbinghi Livity Choir, Indiana University African American Choral Ensemble, Kuru Dynasty, La Onda, Roots Groundation Family, Parrhesia and more” (BarakaVision.com). I thought that his eclectic musical diversity alone spoke to his openness to new cultures and creativity. If we use Sakshi as an example of the average practitioner of Kirtan, we can see how interesting and appealing the community is. As a side note, he also told me that he does not adhere to any organized religion. But he also does not judge or discriminate anyone based on his or her personal religious choices. His opinion is that people have their own path to embark on to find spiritual peace.

What Sakshi and the Kirtan movement do not do is tell people that they need to submit to their code or way of life. Their message is one of understanding and compassion. In Kirtan, God appears in many forms and usually his/her appearance is different to each person, because God can have an infinite amount of forms. In Kirtan, God can manifest as any deity such as, Krishna, Ram, Shiva, Ganesha, Kali, and many more. These deities share similarities with, and are usually connected to Catholic Saints. To communicate with the deities, they use music, which can be in any genre, just like God can appear in any shape. The musical style creates an openness, connectedness, and receptiveness, among each person’s spirit as they sit in the circle. Just like the participants, each song as a different flavor and mood. To connect with the gods they try to achieve spiritual awakening. Though the Kirtan spiritual awakening may be called different things, spirit of devotion, divine connection, right brained experience, or spiritual openness, these things seem to be held as a common intention to the band members.

Another common intention among the band members is to maintain old practices, like call and response. Samy’s reaction to the call and response aspect of the event was that it was reminiscent of tribal chanting (the band’s desired affect). She also thought the music was calming and soft, until the tempo picked up and it got intense. But this particular event that she saw was calmer than others because it did not use any electric instruments, which are more stimulating to the listener than acoustic ones. She also noticed that each person seemed to be in their own world, yet at the same time connected to everyone in the room. It was almost like Sakshi’s calls put everyone in to a trance, and they could only come out of it by singing the response.

I found that their website was extremely useful for bios and band info. I chose to focus primarily on Sakshi because he is my closest friend out of all the band members. But I did make sure to look at everyone else’s bio and they proved to each have completely different yet extraordinarily interesting backgrounds. It’s compelling to see that people from such different roads can all meet in the middle and work toward a common goal of harmony. Some of the ways that the band members spread peace when they’re not performing is Story Time Yoga, a group started by Sakshi, which incorporates yoga into fairy tales. Ras D likes to change the environment by teaching sustainable farming to Bloomington’s Community. With Kirtan the sky is the limit on creatively spreading the word of peace, harmony, and love.

Conclusion: Unlike other world religions Kirtan offers more than just a guide for living which can be summed up by the golden rule. The Hare Krishna movement brings entire communities of varied people together to function as one spritual entity. Kirtan allows each person to find their own path and use Kirtan as a means to help them spread love and harmony in whatever way they choose. For example, Sakshi’s yoga, and Ras D’s farming; they are each doing what they love to do, while weaving in Kirtan to spread a message.

The beauty of Kirtan is that while it is a deeply personal experience it is also very communal. The participation of the person sitting next to you, chanting, and playing music will directly affect your experience, and vice versa. The “primitiveness” of it makes the participants feel as though they have just relived something that their ancestors probably did long ago. As the tempo speeds up, so does the heart beato f all those involved. The music literally seems to pull your body toward the instruments. Everyone in the room seems to into a spiritual trance, as they slowly forget all the hardships in life outside the Kirtan room. When I was there, I wasn’t even participating but I found that instead of thinking about my bills, homework, exams, or life drama, I was just focused on the rhythm of the drums pulsating through my body. It was as if my brain turned off, and I didn’t have a choice, it was time to meditate.

Kirtan offers an authentic feeling of togethness that people usually do not get from day to day living. After the event eveyone kind of looks around smiling, like “now what?”. In such a short time they ate, smoked, chanted, blessed, meditated, and laughed together. I can truly say that I understand now why Kirtan is becoming so popular. It is a message that can virtually be played with any instruments, in and setting, and any time. Most importantly I found out that it can be played by anyone of any color or creed, etc…as long as they embody the message of love.

Since Kirtan is so musically amorphous it appeals to a broad audience of musical tastes and can easily become a tool for social change. “[It] is an especially effective meduim for the propegation of nationalist ideas because of its devotionalized context and Kirtan music’s potential for group participation, experiences of emboiment, and multiple interpretive possibilites” (Shultz 307).

After doing this Project I think that I have learned that Kirtan has the potential to create strong and loving leaders, who don’t adhere to social convictions of discrimination. In Kirtan you can come from any background because the importance rests in the spiritual world instead of the physical. Hopefully the Hare Kirshna movement will continue to spread, and add much needed harmony to the crazy world we’re all living in.

Works Cited :

Hindu Nationalism, Music, and Embodiment in Marathi Rāshṭrīya Kīrtan

Anna Schultz

Ethnomusicology

Vol. 46, No. 2 (Spring – Summer, 2002), pp. 307-322

Published by: University of Illinois Press on behalf of Society for Ethnomusicology

Stable URL: http://www.jstor.org/stable/852784

Moi. “Cow Dung and It’s Many Wonderful Properties « EARTHKEEPIN.” EARTHKEEPIN. 27 Sept. 2007. Web. 02 Dec. 2010. <http://ecovillagelife.wordpress.com/2007/09/27/cow-dung-and-its-many-wonderful-properties/>.

The Agnihotra (Or Fire-God Oblation) in the Taittirīya-Brāhmaṇa: The First Prapāṭhaka of the Second Kāṇḍa of the Taittirīya-Brāhmaṇa with Translation

Paul-Emile Dumont

Proceedings of the American Philosophical Society

Vol. 108, No. 4 (Aug. 27, 1964), pp. 337-353

Published by: American Philosophical Society

Stable URL: http://www.jstor.org/stable/985912

Popular Kīrtan in Benares: Some ‘Great’ Aspects of a Little Tradition

Stephen M. Slawek

Ethnomusicology

Vol. 32, No. 2 (Spring – Summer, 1988), pp. 77-92

Published by: University of Illinois Press on behalf of Society for Ethnomusicology

Stable URL: http://www.jstor.org/stable/852037

Wind, Arun B., Sakshi G. Das, Ras D. Hanubaba, and Zen G. “Divine Music”. Baraka Kirtan – Divine Music. DigitalNature, 1 Jan. 2010. Web. 04 Nov. 2010.

Baraka : From the Experiential to the Analytical

Baraka : From the Experiential to the Analytical

by Aaron Pollitt, (IU Folk 450) 4/23/10

It has often been the case that an ethnographer with the intention of developing their analytical and academic understanding will enter and immerse themselves within a culture, in order to gain an experience of it from the inside. In my case this is rather the opposite. I am a member of the band Baraka, and for the past year or so I have been the flamboyant, joyous, flute player and member of this band. I have immersed myself in a melting pot of ecstatic chanting, cultural co-creation, divine connections, and holistic exploration. I have traveled with this group to many interesting places, made many amazing friends, and felt an awesome sense of spiritual development within myself. This has been a profound and wonderful experience in my life, and my desire to enhance my abilities and participation within it has steadily been growing. In the creation of this document, I have set myself to the task of gaining a deeper understanding of this experience of Baraka. I am stepping out of the role of band member and friend, and taking on the role of the researcher and ethnographer. I am looking back at this band with my analytical mind, from a prospective that I had up until now, largely left alone. Through interviews with the band members and its affiliates, and comparisons to other studies of spiritual music and culture, I attempt to develop an understanding of what Baraka is, what effect the music has on its listeners and members, how Baraka fits in to the greater American culture, what Baraka and its members hold as their intention, and why they are using the methods they are. After answering these questions, I hope to step back into the role of band member with a greater ability to both experience this musical cultural process and participate in this co-creation.

The official members of Baraka consist of 4 young white males, native to Indiana. The members have all come from a relatively mainstream American upbringing, which is a stark contrast to the identity and style which they are now embodying. The band comes together to form a kind of spiritual and cultural anomaly, or phenomena within a greater culture. It acts as a bridge between mainstream America and an ancient Vedic tradition reaching back some 3000 years ago in India. “Yes, were all white and American, but we look for our identity outside of our culture. We are privileged, so we have the opportunity to do this. We happen to be white, but we are trying to represent different cultures.” (Ras-D, interview). The band Baraka is a bit hard to classify, as it is rather dynamic in its identity. The main musical style of the band is known as Kirtan. Kirtan is a form of devotional communal chanting sung in Sanskrit to the Hindu gods and goddesses. Along with this however, the band also plays Reggae, Nyabinghi chants, Hip Hop, Rock, New Age spiritual folk songs, improvisational instrumentals, and many fusions of these different styles. With all these different possibilities for style one may think that the band would be very scattered, but interestingly the underlying feeling and direction of their performance seems to be relatively the same. “Baraka is a hard working band that is unified in its intent of artistic effort towards a spiritual end.” (Bamboo Steve, Interview). The performance of this band is held as highly valuable and important to the band members. The development of this performance is given great attention during practices and shows for a few reasons. Certainly it seems to be the selling point of the band, the reason that they are seen as valuable to potential listeners and venues, but the band also takes a great deal of pride in their ability to create a very attractive performance. “This is largely about co-creation of a story, immersing people in another world that they aren’t used to or aware of, it’s the mythic and the mystic, it’s the the foreign, the colorful and the ancient” (Sakshi Interview). This development and structuring of the performance is very specific. It’s not everything all at once but rather carefully selected stories and styles used to create an atmosphere that is most attractive, and immersive to those listening. “It’s like getting into these epic stories of where things all came from. Taking ourselves back to a very simple time. These songs are so simple and often we don’t even understand most of the lyrics. It brings us into a Turning off of our analytical minds.“ (Zen –G, interview). “This is very primordial, many of these elements have been with humanity forever, communal chanting, deities, sacramentals, and ritual are part of our human story, but it’s very new and fresh, to our American culture” (Sakshi, interview). The band gives focus to connecting to that which is part of human history, trying to recreate a feeling of the lifestyle from long ago. This seems to connect with people on what might be considered an instinctual or intrinsic level, building off the universal similarities in primitive human cultures, and in doing so creating a very natural and welcoming feeling to the performance. In a normal performance the band often takes their shoes off and sits on the ground facing one another. The simple act of sitting on the ground in a circle is an example of this universal primitive human behavior. Most all ancient human groups have sat communally in circles on the earth. Creating this a part of the structure of the performance adds to the intended ancient mystic atmosphere, and brings the listeners directly into that experience so they are more than just listeners, they are participants. The instruments themselves are largely all authentic and traditional in style. They act as center pieces to the performance creating what appears to be an alter on the ground in front of the performers, often decorated by the band members with small figures, gems, feathers, and colorful cloth. The instruments, draw a lot of attention, and are marveled at by the participants. “These is a community of humans that exists across time, These instruments have been worked on over generations for thousands of years, and have been handed down through time and culture to us, they carry in them all this artistry and care and intent” (Bamboo Steve, Interview). Because of this the instruments are seen as having something of a mystical power within themselves much like the instruments described by Sue Carole DeVale in her writing, Power and Meaning in Musical Instruments.

Once the stage is set and the instruments are in place the stories and songs can be brought in to the performance “in the energy of the great figures, be it Yahshua, Krishna, Jah, Buddha, Ganesha, or Bob Marley. These are characters and deities are symbols.” (Sakshi-I interview). These are all highly praised mythic characters, that the band is singing to and telling stories of. They are surrounded in symbology and ritual, some of them are deeply meaningful to of the participants on a very spiritual level, as they may likely have had or a profound connection with such a figure in the past, or at least know of someone who has. The characters most commonly brought up by the band are the Hindu deities. This atmosphere of mystery, story, symbolism and ritual, develops a very spiritually conducive mindset in the listeners. “Baraka makes the Kirtan so delicious that people really do stop. And intentionally or unintentionally become more receptive spiritual entities because of it.” (Bamboo steve, interview). The music has a certain quality about it that causes the listeners to go into a kind of trance, to allow their analytical mind to turn off and for them in that moment to sink into the experience and co creative flow of the music. This seems to be where the greatest power for the band is held, and perhaps their greatest intention. “The Sanskrit term rasa… rasa is a religious sense, a feeling of unity with the world beyond oneself, a transcendental experience induced by an artistic event. From the invoking of indigenous.” (Judith Becker, Tantrism, Rasa, and Javanese Gamelan Music) this Sanskrit concept of rasa seems to have carried over through this musical form and still holds true in this new context of modern day America. This trance like, unified, transcendental state seems to be a common side effect of the Baraka performance. “It’s about the spirit of devotion, unity, the love of story, the love of diversity,” (Sakshi, interview). “The divine connection transcending religious boundaries, coming together as one spirit in celebration, with common intention of co-creation through sound. “ (Ras-D, interview). “The underlying mission of our music is to get us into a Right brained experience, losing ourselves in the joy of creation” (Zen-G, interview). “We play to get ourselves and our listeners into a more spiritually open, receptive, connected state of being.” (Arun Baba, interview). Though it may be called different things, spirit of devotion, divine connection, right brained experience, or spiritual openness, these things seem to be held as a common intention to the band members, and understood that they are using music as vehicle to bring them and the participants into this state of being. “Each song has a different flavor, a different mood. The musical style creates this openness, connection, receptiveness, but the content is what is being opened up to, connected with and received. For example we chant a song to this elephant deity Ganesha, this figure represents beginning, good luck and overcoming obstacles, That is the kind of energy that we open up to and really are able to take in. Kind of like summoning the power of this deity to aide us.” (Arun Baba, interview) The band sees these different deities as symbols of different energies, and chanting their song will bring them that type of energy. There seems to be 2 ways that this is seen. One side sees this as an inwardly psychological change brought on by the action of focusing on a type of energy. The other side sees this as a more outwardly calling of energy, that through focusing on a symbol the associated energy will blessed to them from without. Though these 2 different viewpoints on chanting seem to exist within the band and its following, outcome seems to be entirely the same. Both seem to see the creation of this music as forming a personal relationship with the divine, weather the divine exist within them or without them seems unimportant. “Like trying to join the divine in heavenly song, in a mystical sense, trying create a personal relationship with the divine“ (Bamboo Steve interview). This concept of personal relationship and moving towards union with god seems to be a common on, and is very similar to many Sufi practices as described in the writings of Regula Burckhardt Qureshi, in the article, Sufi music of India and Pakistan.

The experience of Baraka seems to be received with such appreciation and relief by so many of its listeners and participants, as though the experience is greatly healing to them. “There is a need for this in our culture, the simplicity and spiritual drone of this music is something which is obviously missing. Our culture is such like a drive up window culture now now now. There is a profound loss of connection in it.” (Bamboo Steve, Interview). The type of mindset that this music brings about seems to be one that is highly uncommon in the society in which this band exists. The exercise of playing this music is such a contrast to the normal American life that those who practice it seem to do it as a way of healing and balancing themselves. “It’s a daily challenge to get into that. We come from a very the left brained society. How do I bring out my heart, my soul, my spirit, this whole other side of me? I think that’s part of our venture as a band; to strike balance between the analytical and the experiential.” (Zen-G, interview). “Even what we are doing right now (in this interview) is intellectualizing about this, and at a certain point you just have to shut all that off and just experience something. That raw experience is totally different from the concept and its way more fulfilling.” (Zen-G, interview). Some of the band members and followers see the society that they live in as being very spiritually immature, as though it has actually been trying to get rid of spirituality within it’s citizens. “this band is my spiritual outlet, to help me with my emotions, with maintaining my peaceful life, as a way for me to release pent up energy, as a way of healing. (Ras –D, interview). Many see this as something that is actually very rare and difficult to find in this society, so the band members are taking it upon themselves to create it. Though this style of music is relatively unique the intention seems to be very much connected to a broader movement. One of spiritual connection, community, and celebration of diversity, “It’s part of the spiritual consciousness movement, we are trying to embody, and set an example of a healthy, holistic, conscious lifestyle.” (Sakshi, interview) different manifestations of this commonly held intention seem to be popping up everywhere and secretly this is one of the fastest growing social movements there is.” (Arun Baba, interview)

Though the band’s intention seems to be pretty clearly that of creating right brained spiritual experience and connection, they seem to have another very important intention in their music. Through observation and much questioning of the members it seems clear that one of the most foundational concepts that this band bases itself on is the celebration of diversity, and love of culture. It seems that a mission of this group is to aid in breaking down the social boundaries and walls. “Baraka is trying to bridge 2 cultures with art. White American young people backgrounds and playing devotional chant form India. The way it’s played is a fusion, not the music itself, but the place they are playing it. It’s like a translation, Translating Kirtan into American, and making the underlying message accessible to American people.” (Bamboo Steve, Interview) The band sees itself as a cultural bridge, as carrying across valuable cultural experiences and presenting them to the people of this culture, in a way that can be easily understood and accepted. “I love to be able to opens people minds, this is a very mind opening band, open to how other people do things. Cross cultural collision; this is a big part of our country. We represent the essence of this collision, we as a band embrace many cultural elements, and are hoping to embrace more.” (Zen-G, interview) “We want to connect with other cultures and learn from them and share with them, we go in humbleness, We see so much beauty in diversity in other cultures, and we’ll share what we have, but we want to represent these wonderful and powerful stories and styles in an honorable way.” (Sakshi interview). Baraka has a commonly held view point that they are embodying a cultural openness, that diversity is beautiful and ought to be celebrated. Though at first glance Baraka may seem to have the identity of a purely Hindu group, they see themselves as being centered in the celebration of diversity, rather than the celebration of one culture. They believe that it is one of their greatest missions to aid the world in opening its heart and mind to the beauty of diversity, not to hide from it, or try to destroy it, but to celebrate it.

“We are about the essence of life within all religions. The spirit that inspires man to create a religion, people get caught up in the secular and dogmatic, but this is transcendental. We may have leanings towards one or another on a personal level, but this is about the mystical energy, whatever it is. Reggae and Kirtan are our means and they work great, they are beautiful forms of music, but it could be any style and I bet that it will be.” (Sakshi interview) “This is a universal thing, of coming together as community and howling at the moon, just coming together and chanting, is like a universal language. It’s not about which story is true; we accept all these different stories, it’s about the experience of sharing these stories through music.” (Zen- G, interview). This concept that no one story is the true story, that the act of experiencing the stories is what is really important, is at the heart of this band and the movement that they see themselves as being part of. These young men have found the vehicle of music to be the best way for them to spread this message, as it is so present, so mold-able and expressive, it can spread their message of celebration of diversity far and wide while at the same time actually manifesting it in what they are doing.

After a my time of immersion in this experience, and having a vague and dreamy concept of what we are doing as this band, it has been refreshing to take a different prospective on it. I myself I feel much more balanced now in my relationship to Baraka, having fulfilled both my right brains need to experience, and now my left brains need to develop an analytical understanding. I think that I can safely say that I have come to a much more clear understanding. Baraka’s intentions seem clear to me now, spiritual connection, and celebration of diversity through music. We use Kirtan and Reggae as our means because that is what we have come to know, and they seem to do the job very well. We are filling a profound and important niche with our culture and within ourselves. I’m sure there is far more for me to learn and reflect on regarding what this band is and my experience of it. Now with the clarity that I have found I hope to return to this multi-cultural musical conversation, with more strength I had before, and I hope that I can embody my own identity with more certainty as I aid the group in this co-creative process.

Resources :

Harvard University, Center for the Study of world Religions, (Enchanting Powers): Judith Becker, (Tantrism, Rasa, and Javanese Gamelan Music)

Marina Roseman, (Healing Sounds From The Malaysnian Rainforest (Temiar Music and Medicine))

Regula Burckhardt Qureshi, (Sufi music of India and Pakistan)

Sue Carole DeVale, (Power and Meaning in Musical Instruments) 95

Aaron Pollitt Field study, Interview with Steve Pollitt(Bamboo Steve), founder of Hymnosophy, 4/18/10

Aaron Pollitt Field Study, Interview with Baraka member, Sakshi Gopal Das 4/20/10

Aaron Pollitt Field Study, Interview with Baraka Member, Gabriel Lantz (Zen-G) 4/21/10

Aaron Pollitt Field Study, Interview with Baraka Member, Danny Atlas (Ras-D) 4/21/10

Aaron Pollitt Field Study, interview with Baraka Member, (Arun Baba) 4/20/10

Ancient Hebrews Worship Shiva, Lord of the Sabbath, Hindu Jewish Connection

Shiva is the Lord of the Sabbath. Shiva is Lord of Yoga, Loosing the Seven Seals.. Fulfilling the Seven Chakras.

Shiva meant Seven throughout the ancient world.

How the Sabbath Got its Name:

The Ancient Hebrew word Shabbath, meaning Sabbath, has its roots in Sheba meaning seven, and Shaba.

Sabaoth, meaning the military lord of hosts has its root in Saba, which also transliterates as Sheba and Seba. The Pillars erected to God in the Torah are named masseva or masseba. Both variants used the name of Shiva or Siva.

It is acknowledged even by the orthodox that Deity was addressed by various names, such as Baal, Adonai, Jah, Jehovah, El, El Shaddai, and El Kana. And we also know that divinity was not necessarily addressed as a singular entity as we see in the name Elohim which refers to a number of deities.

In the common translations available to the public, however, the original male deity of Judaism is never addressed as Sheba, a transliteration of Shiva, for obvious reasons. It would disclose the original deity of Judaism as being the Hindu Shiva and the original Jews as being Sabeans, that is, followers of Saba aka Sheba and Seba, all of which are names of Shiva. The deity Shiva venerated by mainstream Hindus commands vegetarianism as a diet, compassion for animals, and does not respect castes or classes. He starts to not at all fit in with what has become orthodox Judaism and Christianity, religions, or, more properly speaking, sects, which promote animal sacrifices as a diet, and elitist societies of rich and poor. The term, elitist societies of rich and poor, may be regarded as a euphemism for slavery in one degree or another. Slavery is an institution which is portrayed as acceptable in both the Old and New Testaments as well as in the Koran. As we shall see, point by point in this study, the original vegetarian and egalitarian values of Judaism were radically different from what orthodox Judaism has become.

Orthodox Jews ignore the root of the name of their place of study, the Yeshiva.

Shiva is known in the Old Testament as Sheba, Seba and Saba, Tsaba, as well as by other names. Shiva aka Sheba is the Lord of the Shabbath (Hebrew) and Sabbath (English). One easily sees the connection between the word Saba, which is interchangeable with Seba and Sheba, and the English word Sabbath. The etymology of the word Shabbath or Sabbath has been scrupulously ignored, as has, for example, the term yeshiva, meaning a school or academy for students of Judaism. The word is of course is a rather direct reference to Shiva, though it is not acknowledged to be so by the orthodoxy. When the relevant names of Shiva are aligned with the Hebrew and English designations of the seventh day, it is rather easy to see the etymological connection.

Sheba: Shabbath in ancient Hebrew.

The name Saba is easily seen to be the root of Sabbath in English

Sheba is an easily seen root of Shabbath, especially when we realize that ancient Hebrew is comprised of consonants, just as Saba is easily seen as the root of the English word Sabbath. As we examine the ancient Hebrew terms and names connected with the Sabbath, however, we will see that these correlations are not simply superficial or coincidental, but that they provide specific documentation of the Sabean tradition that gave birth to original Judaism.

Most of us are quite familiar with the term Sabbath day, the seventh day of rest which we understand as being derived from the sequence of days in Genesis: God creates the world in six days and rests on the seventh. And we are also familiar with the fourth commandment “Remember thou keep holy the Sabbath day.” But we usually aren’t informed as to the source or etymology of the word itself, Sabbath, or in Hebrew Shabbath.

7676 Shabbath in Hebrew is described as meaning intermission, the Sabbath, and every sabbath. It is a form of 7673.

7673 Shabath is a primitive root meaning to repose, to desist from exertion.

Understanding that the Shabbath or Sabbath is the seventh day, when we examine the roots of the Hebrew words Shabbath and Shabath, we come across a number of definitions that can make more sense from a Hindu perspective, since they refer to a yogic process.

The Sabbath and Shiva as Lord of Yoga “Sevening One’s Self”

An examination of the names Sheba and Shaba, words which may be seen as roots of Shabbath (in English the Sabbath), deal with sevening one’s self, and thereby reveal the ancient devotion that the original Jews had to Shiva as the Lord of Yoga, one who has “sevened himself,” that is fulfilled his seven chakras. In the Hindu system of Yoga, which tradition has it was begun by Shiva himself, there are seven centers, the root chakra or center, corresponding to one’s sexual energy, the power chakra above it, the solar plexus chakra above it, the heart chakra, the throat, the third eye and the seventh chakra at the top of the head.

The practitioner of Yoga, or for that matter, any human seeking spiritual perfection, is to deal with resolving, controlling or balancing sexual desires (the first center), resolving conflicts of power (the second center), controlling appetite addictions and using food for purification (the third and solar plexus center), controlling one’s emotional attachments (the fourth and heart center), expression of one’s will (the fifth and throat center), reception to the infusion of divinity through meditation (the sixth center in the third eye), all of which, when finally achieved, allow one to connect with divinity through the highest chakra in the top of the head.

We can easily see moreover how the term Shabbath or Sabbath is related to numerous other words which reflect the seventh day aspect of the word. Namely: the word shaba and the words sheba (pronounced sheh’ bah) and shibah (pronounced shib-aw’) which are the feminine and masculine forms of the same word. The ancient Hebrew words Shaba and Sheba both refer to aspects of the Hindu Shiva as Lord of Yoga.

7650 shaba, a primitive root; to be complete; to seven oneself.

The latter part of the above definition, to seven oneself may be interpreted in numerous ways, among them that seven is part of a natural cycle, and that the seventh day completes or perfects the cycle, were it not for the word oneself, which brings the completion of the seven part cycle to a personal level. On the personal level the phrase to seven oneself may seem to make little or no sense in the history of the orthodox Jews, but makes perfect sense in the history of Hinduism. The phrase refers to the ideal of the Yogic process, to eliminate all major negativity in one’s spiritual centers and to activate their positive potentiality.

Shiva is the Inventor of Yoga, and the Lord of Yoga. Shiva has nourished to the full his seven spiritual centers or chakras, and is now a fulfilled being elevated to divinity. It is Shiva who is being referred to as a divine model for human behavior, for in fulfilling the potentiality of each of his seven chakras, Shiva has sevened himself; he is a complete being.

Shiva was known throughout the world as the God of Seven.

Whereas the verb Shaba refers to the activity of becoming complete in one’s self, the following definition of Sheba, a frequently used noun and root in the Old Testament Hebrew, means seven, but seven as the sacred full one. In other words, the nominative case refers to the same occurrence: that of being in the state of having fulfilled one’s self, one’s spiritual centers, and once again seven, the number of the chakras, is mentioned. Sheba means seven. The Shabbath is the seventh day. Sheba is merely a transliteration of Shiva, sometimes spelled as Sheva.

7651 sheba (fem) or shibah (masc), seven (as the sacred full one); as an adverb, seven times; a week.

To anyone who is not familiar with the Hindu system of Yoga featuring the development of one’s seven spiritual centers, the above definition of seven as the sacred full one would be rather ambiguous, but to the Hindus and Buddhists, to the ancient Maya and Aztecs, who also revered the number seven and worshiped Shiva and Kali, and to the Hopis (though Hopis limit the centers to five), it is a system which meshes with their own. [The Aztec pantheon even has a vegetation goddess known as Kundalini (See Michael Jordan’s Encyclopedia of Gods).]

Shiva is associated with the number seven over and over again in Hinduism, as is the God of Judaism, and Sheba in Hebrew means seven. The link between the Hindu deity Shiva and the number seven includes the fact that Shiva is Lord of the seven worlds, he lives in the place of seven rivers on earth and in Shivaloka, the highest of the seven worlds, he is Lord of Yoga, having mastered his seven spiritual centers, and his name means seven. Zechariah Sitchin in Lost Realms says that the name Elisheva in Canaan mean “my God is Seven.” p. 82.

SHIBAH, meaning Seven in Genesis: 26:33

Isaac’s servants in the above scripture name the well shibah, meaning seven, to honor their God, Sheba, or Shiva, and thereby also to show that the wells are “owned” or cared for by Isaac (God laughed), the root of whose name is Isa, one of Shiva’s other names. The well therefore has been named after Shiva as Isaac himself has been named after Isa.

Let us let the above definitions show us the relationship of our own English Seven to the German Sieben, and the Hebrew forms of the word, such as Seba and Sheba, words which go back to a Sanskrit source. Perhaps we can get somewhat of an idea of how influential central essential concepts of divinity are, and how spin-off material is related to the phonetic structure and mental significance of the original concept.

Insofar as the Sabbath was named after the seventh day of creation and Creation is the Creator’s Harvest, we can see how the root of the word Sabbath is related with the following words meaning plenty, abundance and satisfaction.

The Lord of the Sabbath is the Lord of Creation, and therefore the Lord of Plenty, the Harvest, Abundance.

7646 saba or sabea (defined the same) to sate, fill to satisfaction, have plenty of, satisfy with, suffice.

Saba is the name of God to the Ethiopian Sabeans, who erected pillars and offered vegetation to him. The Hebrew Seba and Sheba are transliterations of Siva and Shiva. It is indisputable that Saba, Seba, Sheba, and Sheva, all Hebrew words, are transliterations of Shiva’s name and/or attributes. Like the Dravidians in India, the Ethiopians also worshipped Krishna as Cainan or Kanneh, and Rama as Ramman or Rimmon. For verification that these were the names of the Ethiopian deities, look up Sheba, Seba, Saba, in James Hasting’s Dictionary of the Bible (1919 edition). Some Indian scholars affirm that Ethiopia may in fact be the mother culture of India, and given the evidence that the oldest human bones thus far found are Ethiopian, this would indeed be even more evidence to add to the fact that the Sabean religion was the first universal religion of the world. What is being conjectured is that the migrating Ethiopians became the aboriginal Shaivites who were later invaded by the Aryans.

7647 sabea, copiousness, abundance, plenteous.,

7649 sabea, satisfied in a pleasant or disagreeable sense, full of, satisfied with.

Sheba or Shiva, Lord of the Sabbath was known as the Lord of Creatures, and Protector of Cattle, The seven day cycle of creation and rest in Genesis 1 is a description of the Lord of the Sabbath, Sheba, or Shiva. He was the Deity who commanded the vegetarian covenant of Genesis 1: 29-30.

“And God said `Behold I have given you every plant yielding seed which is upon the face of the earth, and every tree with seed in its fruit; you shall have them for food. And to every beast of the earth and to every bird of the air and to everything that creeps on the earth, everything that has the breath of life, I have given every green plant for food.'”

Mainstream Hindus for millennia have worshipped Shiva as the compassionate Lord of Creatures, or Shiva Pasupati.

Thus, this same Shiva or Sheba, after whom the Shabbath was named, was also the compassionate deity commanding vegetarianism for all creatures, not just for humans. In other words, the vegetarian covenant which commands that all creatures eat plants and not other creatures is a logical covenant commanded by Shiva. We should also realize, that after the fall, in “Genesis” cattle are singled out as those who will suffer. The rewriter of the Torah was obviously countering the previous influence of Shiva, or Sheba, Lord of the Sabbath and Protector of Cattle.

(Author Unknown)

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THE WORLD-WIDE INFLUENCE OF RAMAYANA

When Haile Selassie, the emperor of Ethiopia was gifted with a Ramayana by an Indian sannyasi, he smiled, and said they were all descendants of Lord Rama. He explained how the Ethiopians are called as Cushites, or coming down from Kusha, a son of Rama. The country is called Kushadwip, or the land of the son of Rama.

Ethiopians admit their ancestor as Kush, and they quote the Biblical story of Cush being a son of Ham (a phonetic misnomer of Ram). This only confirms to the widespread influence of Ramayana, even in a land that is 3000 miles away from the mainland of India.

Phonetic describes the way spoken words sound or are pronounced. When we closely examine the names of various places across the world, we can logically deduce how the culture of Ramayana must have influenced these lands, even thousands of years ago. Egypt derives its name from Ajpati, a name of one of Rama’s forefathers. Even the various legends in Egypt contain references to Dasharatha, the father of Rama, and thus even five thousand kilometres away, Ramayana had an influence.

The traces of Vedic age can be seen even today. Iranians have the culture of reverence to fire, an essential sacrificial tool in Vedic process. Armenia has an ancient structure, called the ‘temple of the little blue boy’-referring to Krishna. A French historian even claimed that the original Armenians were worshippers of Radha and Krishna.

This is explained in the Vedic scriptures: Parashuram was a great warrior who destroyed warrior class many times. As a result many kings ran to faraway lands and settled there. Over a period of time, due to the far distance from the main land of India, the culture of Rama and Krishna worship deteriorated.

Nearer home, in the South East Asian regions, Ramayana’s influence can be seen even today. Thailand’s national epic is called ‘Ramakien’– glory of Rama. Until the late 18th century, the capital of Thailand was Ayutthaya, derived from Ayodhya- the capital of Lord Rama. Most of the kings of Thailand are called as Rama-I or Rama-II and so on.

When Lord Rama shot an arrow at demon Maricha and disposed him off to the middle of an ocean, he settled in an island there. That place was called Mauricha or later evolved as Mauritius.

These instances prove that story of Ramayana is not simply a story that belongs to India; this is one of the most powerful stories in the history of the world.

Just as Bible has played a pivotal role in shaping the history of the Western world- you can read novels, appreciate art and history, and you will find some Biblical references there- similarly Ramayana has shaped all of Asian civilization. China, Japan and Korea have their own version of Ramayana story telling. Indonesia- the world’s largest Muslim country- even today has a popular puppet show on Ramayana.

Japan created an animated Ramayana made for the Japanese market by the Japanese; they too love to narrate the Ramayana. Over three hundred different versions- from South Indian to Urdu- Ramayana has captured the imagination of the people all over Asia for millennia.

In recent times, lands outside of Asia-like Africa and Europe- have revealed Ramayana’s influence. The Warner bros in US made a movie, ‘A little Princess’; the heart of the movie is the rendition of Ramayana by a young girl Sara.

The Ramayana story thus has a universal appeal. And that’s because it has all the ingredients of a good story: there is a hero, the princess, the damsel in distress. Adventure, romance, action, it’s all there. Yet, there is something more in Ramayana. It is the ‘adi-kavya’– the first poem. And the poetic masterpiece of Ramayana is known to humans for thousands of years.

Unfortunately modern scholars declare Ramayana to be a fiction; in most book stores, Ramayana is classified as ‘mythology’. However we need to remember that Ramayana is not a fairy tale born out of the fertile brains of some creative writers. Ramayana is a product of divine inspiration, revealed in the heart of a devotee by the Lord himself.

Even when Lord Krishna was personally present on this planet-5000 years ago- Ramayana was well known. That’s the reason the speaker of Srimad Bhagavatam, Srila Sukadeva Goswami devotes only two chapters to the Ramayana. The epic was sung in the courts of kings even those days.

*Article written by Vraja Bihari Das*

Jai Rastafari! Jah Krishnafari!!

Jai RamaChrista! Jah RastaKrishna!!

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