An Introduction to Manonmani (A Sanskrit Dance Ballet) By hu, “Vijay Shi, Prajna Bhaskara” Sadasiva Murty Dr. Rani ‘Manonmani isa Classical Dance Ballet writen in Sanskrit with ight scenes. This is a symbolic dance ballet where certain divine elements in the inner self of human beings are personified with a set- purpose of unveiling the prevalent world in every individual. This a classical manifestation of the essential spiritual quest of every human soul with a universal appeal. It isan attempt to trace out the presence of Universe in every individual and the status of every individual in this wonderfull universe. Thisis a process of SELF DEIFICATION which requires the dire support of YOGA as a universal course to meet the specific end. The theme of this Ballet promotes the kernel thought that awakening of the coiled Kundalini (The root Divine Energy in every human) which is the prerequisite for the deification of human self. Therefore the entire ballet is conveniently arranged to have three main parts init, 1. The Quest of the Self for its own deification 2. The essential method for such deification and 3. The Transformation of the Individual Selfinto the ultimate Divine Self, These three parts are fiurtherstributed to the eight scenes of this dance ballet for the appreciation of the audience. All the characters in this ballet are from the inner divine world of human body. The distribution and delineation of the theme in the eight scenes of the ballet is as follows: Scene I (Gurupadesa and Kundalini Utthanam) This is the first of all scenes. This begins with the foremost essential question in the spiritual quest of every human being “Who am 17” ASadhaka (An aspirant and practitioner of spiritual fulfillment) centers searching for his way in pitch darkness with two basic questions “Who am I?” and “Where do I go?” Here we have to understand that he is in such state that he has well enjoyed all the worldly pleasures that can be attained with the help of any and every kind of wealth and realized that the world is poisonous and treacherous with the illusory attractions of fanciful objective pleasures that make our senses tired and tired. This world is full of wild animals in the form of Desire and Anger, Itisjust a Dream Land. Having known this world a place of vain efforts for attaining the perfection he is in dilemma regarding to where to go and what to do? At this juncture he is persuaded by his Inner Voice (Antar Tami) to seek the help of the right Preceptor who is with in him to continue his Spiritual Pursuit Accordingly concentrating his looks on his Ajna Chakra, Sadhaka meditates up on the Preceptor and the Divine Preceptor (Guru) emerges from hs fore head, He suggests that t attain the Highest Spiritual Perfection one has to awaken the Kundalini (The root Divine Energy in every human) which dwells in Muladhara enabling to startsits joumey through the path of Sushumna meeting all the higher and higher Chakras tllit reaches the Sahasrara, He further suggests that The Process of Yoga is the means to attain this, Through the process of Shaktipata Guru bestows up on the Sadhaka to get adequate powers to see the inner divine world and its inhabitants. Then having received the right instruction and powers from his Guru the Sadhaka starts hi attempts for his further progress. Here ends the first scene. ‘Scene II (Muladhara Vikasa) This scene opens with the invocative prayer of Sadhaka in Siddhhasana for pleasing the Goddess Kundalini ‘The pleased Kundalini advises Sadhaka to offer his prayers to the first Lotus Muladhara for the smooth journey of Kundalini from that Lotus. Guru guides Sadhaka by deseribing Muladhara, the Divine Lotus of four petals. By the grace of Guru he could behold the Great Lotus Muladhara with allits details. Itisthe Lotus with the Earthasits prime element. Sakiniis the protecting Yakshini of this Chakra She wields the Goad to control human anger, the bow of sugar cane to steer human mind, a book to grace the highest knowledge up on the ‘human world and a hand in bestowing posture. Sadhaka requests her to bloom the Muladhara Lotus for a free entry of Kundalini Sakini, then along with her four companions Varada, Shoda, Sri and Vagdevata welcomes Kundalini to move in the Muladhara withall freedom. She further declares thatthe divine damsel Sushumna is laying the Royal Path for the Divine Journey of KundaliniSushumna also sings in praise of Kundalini, When the Path of Sushumna is opened for the journey of Kundalini a shower of sparkling fire ‘emerges from Muladhara. Its continuously emitting little flames of fire. Kundalini is highly pleased with the prayers of Guru, Sadhaka, Sakini and her companions and Sushumna. She asks Sakini and her group of Yakshinis to merge in herself, ‘announces that Muladhara is now in the control of Sadhaka assuring him the unhindered fulfillment in his Yogic practice. She then suggest Guru to guide his disciple to invoke the second Lotus Svadhisthana Here ends the second scene. Scene III (Svadhisthana Vikasa) Guruinstructs that Svadhisthana is located just ata distances of two thumbs width above to Muladhara, It is lotus with six petals, Sadhaka sings in praise of this Lotus which is under the protection of the Yakshini Kakini and her six attendants. Kakini is holding a Trident asa mark of her conquering nature of all the three binding elements in the world (Sattva, Rajas and Tamas). The chain of skulls in her neck is suggestive ofher destructive nature. Sheis four faced. She is said to be the essence of Upanishads. The Water is the Predominant element in her. Bandhini, Rakta, Lambosthika, Yasasvini, Mahamaya and Bhadra Kali are her six attendants, Bam, Bham, Mam, Yam, Ram and Lamare their ruling syllables. ‘When this Lotusis blooming Kundalini attains great pleasure and asks Kakini and her team to merge in herself. With increased splendor She blesses Sadhaka and says that he attains the power tobring all the people and beings into his control by gaining hold over this Lotus. After passing through this Lotus, Kundalini breaks the Brahma Granthi (The Junction of Creation) She asks Guru to lead his disciple further, Scene IV (Manipura Vikasa) Guru introduces him the Manipura Lotus. Itis a Louts with 10 petals. It is the abode of the subtle forms of all phonetic wealth in human beings in self-identifiable level. ‘This Lotusis predominantly ruled by Agni Tattva (The element ire) of Sadhaka starts praising the guarding Yakshini of this Lotus, Lakini and her attendants to pave a suitable way for Kundalini to move in the region of Manipura, She holds Vajra to strengthen the determinative power of the devotees, Shakti to provide the source of Highest Knowledge, Abhaya Mudra and Varada Mudra assuring them fearlessness and bons for acquiring all desired objects Inthe team led by Lakini there are goddesses Damari, Nimini, Tamasi, Sthanvi, Parvati, Dhatri, Phatkari, Natha, Dakshayani and Dhaka, All these Goddesses merges in Kundalini during her journey through this Lotus,Kundalini is very happy with this deed of the Disciple and tells him that he will gain all auspicious ends asa result of mastering over this Lotus Manipura. She suggests Guru to lead his Disciple for pleasing Anahata Lotus, Here ends this scene. Scene V (Anahata Vikasa) Guru proceeds to describe the Anahata Chakra in a very beautifill manner. He says that Anahatais situated in the centre of the heart above the Manipura Chakra. Itis Lotus with twelve petals. It is the spring fountain of the Divine Nada whichis the source of the entire world of music Vayu tattva (The element of Air) is the ruling element of this Lotus, Sadhaka starts to call upon Rakini the protecting Yakshini of this Lotus, Yakini is the mother of Nada, She bears Damaruka the source of Nada in one hand, Trident in another hand representing the three worldly tendencies Sattva, Rajas and Tamas, The Wheel of Time in one hand and the heart of the devotees in the form of a Lotus in another hand. Rakini and her twelve associate-yakshinis Kalaratri, Khatita, Gayatri, Jnanarupini, Candacchhaaya, Tankahasta, Thankari, hankati, Jaya, Ghantadhari, Jamatma and Maya extend their warm weleome to Kundalini,tert vii Onhercallall of hem merge in her enriching herbilliance more and more. Kundlaini blesses Sadhaka to acquire the peerless Knowledge of all Disciplines of Learning asa result of pleasing this Lotus Anahata. While leaving this Lotus the Goddess of Divya Bhogini (Kundalini) breaks Vishnu Granthi, the Knot of Sustenance. Further She asks Guru to steer his Disciple for a smooth transition into the Lotus of Visuddhi, Scene VI (Visuddhi Vikasa) At this instance Guru describes Visuddhi as a Lotus having sixteen petals, He also says that all the Yogins attain fulfillment and self” purification by entering this Chakra. The neck is the location for this Chakra. Through the Mahapatha (Sushumna) Kundalini has to pass through this Chakra having been facilitated by Sadhaka for her smooth ascending, This s the Lotus having the predominance of Akasa Tattva (The element of Space), Sadhaka extols Dakini, the governing Yakshini of this Lotus. She is the wielder of a Magic Wand to create this mystic world, a Trident to destroy the three bodies ~ Subtle body, causal body and gross body of human beings, Kheta—A bird represent the individual soul (Jivatma) and a vessel of wine as symbol of her power to remove the feeling of intoxication in human beings.Having been pleased ith his prayer Dakini along with her sixteen attendants — Amrta, Karshini, Indrani, Isani, Uma, Rea, Lka, Lshasya, Buddhida, Urdhvakeshini, Aishvarya, Itara, Omkari, Ekapada, Dasmabika, Oshdhaatma, Aksara and Shodasi offers a pleasant invitation to Kundalini and merges in her obeying her order. Kundalini with increased effilgence gives her blessings to Sadhaka saying that he will obtain stability of mind dueto his successful ascend to Visuddhi Chakra, ‘Then she solicits Guru to help his Disciple in proceeding to Ajna Chakra. Here this scene ends Scene VII (Ajna Cakra Vikasa) Guru says that Ajna Chakra has two petals. The spot between the two eye browsis its location, He recommends Sadhaka to applaud Ajana Chakra for a smooth access of Kundalini in this sphere ‘Manas Tattva (The element of Mind) is the controlling element of this Chakra, Sadhaka offers his chants in praise of Hakini the governing goddess of this Lotus Hakini along with her two companions Hamsavati and Kshama welcomes Kundalini into the domain of Ajna Chakra which is also known as Bindumandala. Akashamalika in her hand is a sign of her ‘grace up on her worshippers. Damaruka in her another hands a symbol of her sweet and pleasing speech. The white skull in her other handindicates that she is the Goddess of dissolution, The Jnana Mudra bore by her suggests that she bestows the wealth of speech upon her devotees. Hamsavathi and Kshama the two companions of Hakini offer their welcome to Kundalini saying that this Ajna Chakra is the Third Eye of Yogins. Moreover thisis the subtler form of human mind. This isas bright as one crore Suns and as cool as thousands of Moons Kundalini is extremely joyous and declares that Sadhaka has reached the state of Manolaya by winning over the regions of all the six chakras At this juncture Sadhaka attained the Jnana Netra, Henceforth Sadhaka by himself (without the help of Guru) can see all the divine elements of the higher region called Sambhava Sthana beginning from the neck and above and upto Sahasrara Chakra, So Guru disappears from the sight of Sadhaka, Here Kundalini reveals the fact that the Guru who has been helping Sadhaka tll reaching this region is none else than the Supreme Lord Siva (The God in the form of Extreme Divine Bliss. Here this scene ends, Scene VIII (The Mystic Dance of Siva and Sakti in the Sahasrara) This scene in the beginning is ust in the form of a conversation between Sadhaka and Kundalini. Here the experiences of Sadhaka are very strange, mystic, divine and marvelous.Above the Jnana chakra Sadhaka reaches Trikutakasa’s surface. ‘There he sees Vishnupadam. Ida and Pingala Nadis cease to function. The activity of Breath in Sadhaka’s body is stopped. His mind is stale. He becomes wink-less. All the senses cease working, He is able to know and see every thing in this world simultaneously with all minute details. Kundalini names this Yogic state Marullaya or Manonmani or ‘Nadanusandhana Yoga Sadhaka realizes that this state is beyond wakeful state, sleeping state, state of deep sleep. Here the two elements Ahankara (I-ness) and Mamakara (My-ness) are both suspended Inthe middle of the forehead above the Vishnu pada Sadhaka sees the disc of Full Moon (Purna Chandra Mandala). Above the Full moon in the higher and higher regions in between the Puna Chandra ‘Mandala he witnesses gradually Bodhini, Nada, Ardhendu, Mahanada, Sanjikala and finally Unmani. Inthe meanwhile the sparkling shower fire which emerged from the Muladhara in the beginning has now assumes the form of large circle of blazing fire, It gradually increases and increases and hits the Circle of Moon which sin the form of solid ice. The Chandra Mandala starts melting, By the advice of Kundalini Sadhaka offers his prayers to the Yakini Goddess of Sahasrara, In fraction of seconds he sees ll the teams of Yakshinis around Yakini, She starts dancing along with teams ‘of Yakshinis holding innumerable weapons. Finally in the progressive dance posture merges in KundaliniThen Sadhaka beholds there in the middle of the Lotus the Guruchakra where the Great Divine Being SADASIVA appears with smiling face. He isin the union of SHAKTI Sadhaka entreats SIVA and SHAKTI to help him in being drenched in the shower of NECTAR which flows as a river fiom the Indumandala. All the surroundings become brighter and brighter. SHIVA and SHAKTI start their cosmic dance of TANDAVA and LASYA. The showers of NECTAR fall from all the ten directions. Sadhaka isnow overwhelmed with joy. Itis a state of stunning, wonder, It is an unseen -before experience. Sadhaka now gets realization through MANONMANI YOGA. Soon SIVA and SHAKTI merge into each other. That single divine form energy has now started merging into the body of SADHAKA. Now the trio of DHYANA, DHEYA and DHYATA has become one and only one entity with no second after it. THAT ENTITY is SADHAKA. He is now SIVA in the form of SAT. He is now SIVA in the form of CIT, HE is now SIVA in the form of ANANDA. Finally he is SIVAin the form of SAT-CIT-ANANDA. Countless galaxies move around him with great speed and merge in HIM. ll of them again emerge from HIM. ‘Thus the process of Merging and Emerging of the innumerable galaxies stay long for a few minutes and the PLAY ends with MANGALAM. see eae ee