i was watching this program on CNN IBN regarding Valentine’s day. Why should we have such a day? Is it borrowed from western culture? whats wrong with it?
My take on this- Its bloody well borrowed from western culture. Yes it it not wrong to love or express it- donot forget its India that taught the world Love and Sex (Khajuraho).
What i find objectionable is the duality and hypocrysy in the whole concept of Valantines day. Started as a day for lovers now extends itself that its a day for mother’s love etc. what bull shit ? Do they think we dont know the story of Saint Valentine? then there is mothers day, father’s day etc.
now if one wants to really celebrate such days,then why not have a Kanva Maharshi day- the one who united Shakuntala and Dushyanta. or in the name of the Brahmin who was the messenger between Rukmini and Krishna. Why not have Dasharatha day and Yashoda day? So Indian and so ours. But no we will not even care to hear this argument. these names are sooo old and sooooooooooo Indian that most of the Indian youngsters feel awkward to celebrate it and the companies find it hard to market them. I would die of shock if half my readers even know the stories and names i mentioned above.
it is so fashonable to trash all that is Indian culture and beliefs and so convienient to take the western shit. youngsters today dont even put that minimum effort to find out why and how belief survived millions of years. just as easy to name SOMRAS as the modern day alcohol. foolish!!
Atleast I am not ready to become another Gora Slave.
i was watching this program on CNN IBN regarding Valentine’s day. Why should we have such a day? Is it borrowed from western culture? whats wrong with it?
The Upanishads say, “Devo Bhutva Devam Yajet” meaning – “Become a God in order to worship God.” India has always embodied this eternal principle in its culture and has spread it across the seas. Dancing was considered the religious ceremony most pleasing to the Gods and dedication of all activity to the Divine was the highest form of worship.
According to the Natya Shastra, “There is no wisdom, nor knowledge; no art nor craft; no device, nor action that is not to be found in Natya”.
Brahma, created the fifth Scripture, Natya Veda, the scripture of the Dance, presenting moral and spiritual truths in a form, which is easy to understand, even for the masses. Brahma then said to the people, “This art is not merely for your pleasure, but exhibits Bhava (emotion) for all the three worlds. I made this art to reflect this world, whether in work or play, profit, peace, laughter, battle or slaughter. This art shall teach men that the fruit of righteousness will be given to those who follow Dharma, the Moral Law. The spirituality of this art shall be a restraint for the unruly, a discipline for the followers of rule. It will create wisdom in the ignorant, learning in scholars, afford sport to kings and endurance to the sorrow-stricken. Replete with the diverse moods, informed with varying passions of the soul, linked to the deeds of all mankind, the best, the middling and the low, affording excellent counsel, and all else, this great art shall console and elevate the world”.
A distinctive feature of the Bharatanatyam is the fact that it conceives of movement is space mostly along either straight lines or in triangles or in circles, by which we gain a lot of energy. These movements are in actual act, moving lines, which come together in discernible patterns. These patterns reflect or mirror the Mandalas (mystic shapes or forms), which are associated with the six Chakras of the human psychic energy body (Sukshma Sharira, as it is termed in Yoga).
Bharatanatyam is no less a spiritual search than the Sanyasi’s way of renunciation. Yoga and Bharatanatyam are both a means by which “with body, mind and soul we may pray to the Divine.” These great arts help us to divinize ourselves, to develop spiritual qualities of loyalty, fidelity, a sense of Dharma, discipline, awareness, sensitivity, strength, courage, skill, cooperation, diligence, health, happiness and well being, serenity and peacefulness of mind.
May the artistic community of this great nation of Bharat strive to keep the purity of its great cultural heritage intact, inspiring people in all times to follow the advice of the great Rishi Veda Vyasa, who exclaimed at the end of his great epic, the Mahabharatha:
“Oh man know this! Do your Dharma (Ordained virtuous duty)! Then Artha (wealth) and Kama (fulfillment of desire) shall automatically come to you. Having fulfilled yourself in Artha and Kama, you will then seek and obtain Moksha! Hence I say, “Do your Dharma and all else shall come automatically to you.”
The great art of Bharat Natyam surely shows us how we may fulfill our Dharma in a most refined, pleasing, enjoyable, dignified, beautiful and joyful manner and attain that final union with the Supreme Self.
1. Bhavanani Ananda Balayogi .A Yogic approach to stress. Satya Press, Ananda Ashram Pondicherry, 2000
2. Bhavanani Ananda Balayogi. A primer of Yoga theory. Satya Press, Ananda Ashram Pondicherry, 2004
3. Bhavanani Meenakshi Devi. Yoga: One woman’s view. Satya Press, Ananda Ashram, Pondicherry. 1985
4. Coomaraswamy Ananda. The Mirror of Gesture: Being the Abhinaya Darpana of Nandikeswara. Munshiram Manoharlal. New Delhi.1997.
5. Gitananda Giri Swami and Meenakshi Devi Bhavanani, Yoga and Sports, Satya Press, Ananda Ashram, Pondicherry
6. Gitananda Giri Swami, Ashtanga Yoga of Patanjali, Satya Press, Ananda Ashram, Pondicherry
7. Gitananda Giri Swami. Mudras. Satya Press, Ananda Ashram, Pondichery.1975
8. Gitananda Giri Swami. Yoga: Step By Step, Satya Press, Ananda Ashram, Pondicherry. 1970
9. Hinduism Today July 1992.Yogi Playwright Infusing Indian Theatre With More Atma and Altruism
10. Kothari Sunil. Bharata Natyam: Indian classical dance art. Marg Publications. 1979.
11. Ramanathan Leela. Moving sculpture, frozen dance. Sunday Herald, Deccan Herald, Sundays, January 18 and 25, 2004
12. Sudhakar Kanaka. Indian classical dancing: The therapeutic advantages. Sterling Publishers, New Delhi.1994
13. Vivekananda Kendra Patrika, Yoga – The Science Of Holistic Living, Bangalore
Please note that the whole series is just a reproduction of the material at http://www.dhdi.free.fr/recherches/horizonsinterculturels/articles/bharatanatyamyoga.htm
BENEFITS OF DANCE FOR YOGA SADHAKAS
A true Yogi is neither an introvert nor an extrovert. He or she is an ambivert, a person who is equally at home irrespective of whether he is introspecting within himself or whether he is interacting vibrantly with the external environment. Therefore to make sure that the natural introversion of Yoga is balanced with healthy extroversion, some form of extroverted activity such as sports, music or art and craft skill need to be deliberately cultivated.
Dance provides a dynamic activity to offset the static activity of Yoga and many modern Yoga practitioners can benefit from such an associations.
Dance also provides a great source for emotional catharsis and this can help the Yoga Sadhaka to get over many of the emotional hang-ups that continue to bother them in his or her Sadhana.
MUDRA ACCORDING TO YOGAMAHARISHI
DR SWAMI GITANANDA GIRI GURU MAHARAJ
Pujya Swamiji, Gitananda Giri Guru Maharaj, the codifier of the Rishiculture Ashtanga Yoga Paramparai was a world-renowned expert on Classical Yoga and his knowledge of the Yogic science of Mudra was unsurpassed. Here we present an extract from his book MUDRAS published by Satya Press, Ananda Ashram, Pondicherry.
THE NEURO – MECHANICS OF MUDRA:
The casual observer or the neophyte to Yoga may be easily led to believe that the beauty of the gesture, or the power of the esthete is that which evokes the Devatta, the Deva and the Devis, or that the entire procedure is entirely symbolical. Nothing could be farther from the truth.
There is a good basis for acceptance that the Mudra does control the mind-brain processes and the functions within the nervous system by uniting various nerve terminals of the sympathetic and para-sympathetic function. It is acceptable in neurology that the human nervous system is divided into aflex and reflex systems. The aflex carries afferent or sensory responses as well as efferent or motor responses. The reflex system is much like the grounding wire of any high voltage electrical system. A second function of the reflex system is that if feeds back to appropriate brain centres reflexogenic impulses that are associated with the modern concept of biofeedback. There are some 729 reflexes in the Yoga system. Modern Science has accepted some 222 of these reflexes. Mudra Yoga is a most exact science, emanating from our ancient Rishi Yoga culture.
In Yoga, the human body can be divided equally into ten distinct parts, five on each side of a median drawn directly through the centre of the body from the top of the head to the base of the spine and terminating in each of the digits of the toes and the fingers. The body can be further sub-divided into ten Pranic areas, where one of the five major Pranic flows governs the head and others the chest, the abdomen, the pelvis and the extremities. Five minor Pranas are more subtly at the work within specific nerve areas.
The true use of Pranayama is to control these ten flows of Prana Vayu and the Prana Vahaka or nerve impulses, which move in the Nadis or nerves of the Pancha Kosha, the Five Bodies of Man.
When the fingers of the hands are united together in the Hastha Mudra, the specific nerves (as in Jnana Mudra) are united together in a closed nerve circuit. The fingers not in use represent an open nerve circuit. If the hands are united together (as in Namaskara Mudra), then the cranial nerve circuits of the head and the upper part of the body in the Pneumo-gastric or Vagus system are united together. If the hands are brought into alignment on the face (as in Yoni Mudra) then the Vagus nerves and the facial nerves are brought together in a closed circuit.
If the hands are united with the feet (as in Yoga Mudra) then the Vagus system is close-circuited with the cerebrospinal nerves.
When a posture like Parva Asana, the Past Posture, is used, all of the nerve systems of the body are thrown into turbulent action. Parva Asana is used by the Yogi to see into his past existences, to remember past lives. It is also sometimes called Purva Janma Mudra or Parva Mudra.
The purpose of the Hatha Yoga Asanas is to bring together these same nerve terminals, uniting them uniquely in the various postures to produce the specific effect of that posture. This is one good reason that Asanas, Kriyas and Mudras must be done correctly, otherwise the posture is a meaningless gesture, rather than that as understood in the inner teachings of Yoga, a concrete method to achieve Union.
MAJOR POINTS TO BE CONSIDERED IN MUDRAS ACCORDING TO YOGAMAHARISHI DR SWAMI GITANANDA GIRI GURU MAHARAJ
1. The Mudra is made complete by bringing together acupressure points at various sites on the human body. These Bindus are concerned with the pristine practice of Mudra. Yet, every Asana or Kriya is in some way a partial Mudra if these acupressure Bindus are brought into play. Particularly, this is to be noted in the practice of Hathaats, Hathenas, and the Hastikams in the Hatha Yoga system. This group of Asanas comes very close to being: Mudras.
2. The Mudra or gesture can act like a Kriya increasing or impeding circulation of the blood or lymph into various vital organs. Mudra can control every organ and function of the body and mind.
3. The Mudra moves energy through the physical nervous system of a bi-polar nature. This bi-polar nature is also inherent in the energy moving in the Pranamaya Kosha, the Vital Body. The Mudra helps to produce an electrical field around the Yogi, abundant in negative ions, producing a sense of well-being.
4. The Mudra extracts energy and substances from the nerves and vital bodies producing the various enzymes and hormones needed for vibrant health.
5. The Mudra creates a uni-polar base of energy in the Kanda, the Conus Medullaris at the base of the spinal cord. This uni-polar energy is popularly called “Kundalini Shakti”.
6. The Mudra converts enzymes and hormones into Ojas, purified autocoids, and Tejas, super-enzymes. The Mudra accomplishes Urdhwa Retas or a transmutation of lower substances and drives producing a Satchidananada Deha, an indestructible Yogic body.
7. The Mudra arouses and controls the Kundalini Shakti. Kundalini arousal without Mudra is madness.
8. The Mudra is itself a vehicle of total Union or Yoga. To a pious Hindu Yogi, the Mudra is no longer a gesture of Union, but is Union itself. The devotee becomes Shiva, or Shakti. “Verily, the Mudra is the Devi, even the Supreme Adept Himself … Devi is Shakti, but the Mudra controls Her … so Mudra is also the Supreme Shakta”.
ART OF MUDRAS ACCORDING TO KALAIMAMANI
YOGACHARINI MEENAKSHI DEVI BHAVANANI
Yogacharini Meenakshi Devi Bhavanani is one of the few experts in the world who has the unique combination of more than 35 years of study, research and teaching experience in the fields of Yoga and Bharatanatyam . She is a member of numerous Central and State Government councils of Yoga and has trained thousands of dancers in the art of Natya Karanas. Here we reproduce an essay by her that is excerpted from her book, YOGA: ONE WOMAN’S VIEW, published by Satya Press, Pondicherry.
What are the means of communication, which are subtle, refined, and delicate beyond words? What means of communication exist which will not destroy the fragile relationship, the delicate emotion, the subtle thought? Even more important, how can the individual mind communicate with its own emotions, with its own body? Is there an intimate form of communication within the human structure itself? In India, a whole language grew up which was capable of expressing the subtlest spiritual truths, the most refined human emotions and thoughts without resorting to the gross vehicle of verbal communication, which alters any situation it expresses. That form of communication was called the Science of Mudra.
Broadly speaking, Mudra means a “gesture”. I can be a gesture of mind, (Manas Mudra); a gesture of the body (Kaya Mudra); a gesture of the hands (Hastha Mudra); a gesture of the feet (Pada Mudra); a gesture of the face (Mukha Mudra) or a gesture of the eyes (Chakshu Mudra).
Most humans unconsciously use “Mudras” constantly in their daily lives. They simply are unaware of it. Let us examine a few Mudras common to humanity throughout the world, “Mudras of the daily life”, so to speak.
“Body Talk” has become a popular cliché in “pop psychology” circles in the West. We unconsciously tell the world many things about ourselves, unconsciously communicate much of our real self to those around us; simply by the way we hold our body, our hands, our face, and our feet. The English expression “It was a gesture of good will,” indicates that we recognize that emotions can be “gestured”. Mentally we can “gesture” or “reach out” towards others with good thoughts or even bad ones, and this “gesture” has its power, depending upon the concentrative power of our mind at the time. This would be a Manas Mudra. We all know when we see someone with shoulders caved in that the person is dejected, or lacking confidence, just as we know that someone who walks with shoulders thrown back and straight and tall is filled with confidence. We know that someone who is constantly “fidgeting” or moving a body part unnecessarily is nervous and worried. These are all examples of unconscious “gestures” of the body, of Kaya Mudras.
Some common unconscious gestures of the hands (Hastha Mudras) include wringing of the hands when in great difficulty or trouble; showing the palm of the hand to another, a gesture asking the person to stop what he is doing; (this Mudra is used by traffic policemen all over the world); putting the hand into a first to show defiance and anger; gesturing the thumb up, with the remaining fingers closed into a list to show approval. (In the ancient days, the gladiators in the Roman Coliseums depended upon this signal from the emperor to spare their lives).
Gestures of the feet are not so common in the shoe-clad West, but everyone knows what it means if someone “kicks” their foot at them. In the East it is considered a gesture of great disrespect to sit with the legs crossed at the knees when in the presence of someone who should be shown respect. It is also considered disrespectful to sit with the feet outstretched toward anyone. In the East, because it is customary to sit on the floor, the people are accustomed to many different positions of the feet, which have many meanings. This is the Pada Mudra. We are all also aware of gestures of the face (Mukha Mudras). We all know what a smile is and what a frown is, and what a grimace of disgust looks like or a hateful look. These are all common facial Mudras. The Chakshu Mudras, those gestures of the eyes, are much more subtle. Certainly most lovers are experts in the Chakshu Mudra, sending glances of love, of disappointment, of anger, of sorrow etc. The unconscious use of the various Mudras to communicate basic emotions, feelings and ideas is common throughout the human family. It is only in India, however, that this human phenomenon has been observed, codified, structured and refined into both a science and an art.
Mudra was elevated to the position of a carefully thought out science of cause and effect in the ancient discipline of Yoga, and refined to an exquisite form of communication in the ancient art of Bharat Natyam. The Hatha Yoga and Raja Yoga Systems of the ancient Hindus contain a wide repertoire of Pada Mudras, Hastha Mudras and Kaya Mudras. Although there are Chakshu Mudras and Mukha Mudras, their use is not so widespread as in, for example, the Bharat Natyam.
The Yogis in times past were fully aware of the flows of Prana or Vital Energy in the body, the effect of this Prana upon the human organism and its importance in al forms of life. The existence of Prana is a fact that even the greatest of modern scientists have yet to discover. Carl Sagan, well-known popularizer of scientific theories in the United States, recently stated that it appeared as though it was simply by chance adaptation to environmental conditions that the human body developed five fingers and five toes. The Yogi, who knows is own body inside out and its connection with the Universe, knows differently, and this is one of the basic principles as to why Mudras work as they do. The human has five fingers and five toes on each side of his body because he has five flows of Pranic energy, which terminate in each of the digits. There are five flows from head to foot on the right side, and five flows from head to foot on the left side. As well, there is a definite form of Prana circulating in the head, in the torso, in the stomach, in the pelvic area and in the extremities. These Pranic energies even have a name in Yogic terminology. Udana Prana circulates in the head; Prana Reflex in the chest; Samana in the digestive organs; Apana in the organs of elimination and Vyama in the organs of mobility (arms and legs). Bringing these various diverse flows of Pranic energy into closed circuits (“sealing” the energy flow) is one of the methods by which Mudra achieves its purpose.
Even the less sensitive human is fairly aware of the flow of energy off the hands and feet. This is why for ages immemorial holy men (men who had achieved some high level of energy within their human frame) have been able to “heal” by the “laying on of hands”. This also explains why we like to be touched by “high-energy”, positive people. They are transferring their surplus energy to us. It also explains why we shudder to be touched by negative, low energy people – they literally drain us of our energy. Normally we are losing energy through our hands and feet. It was discovered by the Yogis that joining hand to hand or hands to feet in various ways not only prevented that energy loss, but also helped build up the power of the nervous system, making it capable of handling the greater energy flows needed for (and produce by) “real” meditation. In Namaskar Mudra, for example (which, interestingly enough, is the hand position also used by Christians for prayer), the palm is placed against palm, and held against the region of the heart. In Yoga Mudra, the feet are crossed into Padma Asana, with right foot on left thigh, and left foot on right thigh, are palms of the hands placed on the soles of the feet. In many Yoga Asanas, the palms of the hands are placed into contact with the soles of the feet deliberately to create closed circuits.
Sometimes, various fingers are held together in particular positions, uniting one specific flow of Prana in a unique way with another, to produce a certain effect in the body. For example, a whole system of Mudras has been evolved which, when the fingers are held in a particular position, such as Chin Mudra, Chinmaya Mudra, Adhi Mudra and Brahma Mudra, the flow of air into specific areas of the low, mid, high and complete areas of the lungs respectively can be controlled. A Mudra used commonly for meditative and concentrative activities is the Jnana Mudra in which the tip of the thumb is united in a circle with the tip of the forefinger, and the other three fingers held rigidly straight the thumb represents the energy of the Atman (Universal Self; in physiological terms, the energy of the Central Nervous System or Sushumna Nadi) and the forefinger represents the energy of Jiva (individual self; in physiological terms, the right and left peripheral nerves or the Ida and Pingala Nadi). In Yogic parlance, the energies of the individual self are united to the energies of the Universal Self and the high meditative state is achieved. The Hastha Mudra is both a symbolic, as well as a causative factor in producing that which it symbolizes. It sets the stage, so to speak, and points the way. It is the conscious, evolving aspect of mind speaking indirectly through the Mudras to the physiological function of the body, gesturing to the body the direction along which body energies should flow.
There are many such Hastha Mudras, each having its own particular effect upon the body, emotions, mind, nervous system and Pranic flow within the human organism, each Mudra carrying its own subtle message of evolution. Also in the Hatha Yoga repertoire are numerous Pada together in various positions in order to affect energy flows. Sometimes the feet are used as the vehicle of pressure to apply this pressure at a certain sensitive point in the body, producing the desired effect on the energy system.
Some Kaya Mudra (Body Mudras) include Yoga Mudra and Maha Mudra, but the most important of the Kaya Mudras in the Hatha Yoga system are the six Mudras known also as the Shat Mudras or the Oli Mudras. By placing the body into six distinct positions, using breath control and Bandhas as well, endocrine glands of the body are stimulated indirectly. Through this complicated series of body Mudras, the Tejas or firepower of the body (sexual energy) is transmuted into Ojas, or mental energy. This is a good example of how the higher mind speaks to the body through the medium of the Mudra. If the mind tried to verbally instruct the body to transmit Tejas into Ojas, the feat would be impossible. By placing the body into particular positions, controlling the breath in a particular way and using Bandhas, the Mudras acts as the communicative link between the higher mind’s desire to create Ojas, and the body’s ability to follow its direction. Thus, the Mudra becomes a subtle means of true communication between mind and body, a concrete way in which in which the body can implement the evolutionary commands of the mind. It is the special language uniting mind and body.
Whereas Mudras in Yoga is used mainly by the Yogi to communicate spiritually within himself and with the Universal Self, the Mudra in Bharat Natyam is used by the artist to subtle communicate with her audience, creating a Rasa – a particular emotional state – or stimulating the perception of a spiritual truth or feeling directly, from soul to soul, without the cloying, degrading effect of verbal contact. The Mudra in Yoga is an intra-personal communication, where via hand, foot and body positions, the mind can communicate to the body via energy or Pranic flows, its evolutionary commands. The Mudra in Bharat Natyam, however, is much more an inter-personal communications, a direct communion between artist and audience. Subtle emotions, spiritual truths that cannot be conveyed verbally, can be expressed via the trained glance of the eye, face, the position of the hands, the feet or the body.
Many of the Bharat Natyam, Mudras are also to be found in Yoga, as they are deeply rooted in the natural physical reaction of the nervous system to certain emotions and states of mind. For example, in Bharat Natyam a closed fist with the thumb up is called Shikara Mudra and is used to symbolize manifestations of the Divine Power – Lord Shiva Lord Vishnu etc. We have seen how in common usage the erect thumb position symbolizes triumph, success, “lordship” (compare the popular expression “thumb up”). This corresponds well to Yogic thinking where the thumb symbolizes the energies of the Higher Self, in physiological terms, the Sushumna Nadi. The Namaskara Mudra which literally gestures the meaning, “I witness that Supreme Force as manifesting in you” is common to both Yoga and Bharat Natyam, as is the Anjali Mudra, in which the Namaskara Mudra is lifted high over the head in a gesture of great respect to the higher authority, which could be God, Guru or King. The Jnana Mudra, the Gesture of Meditation in Yoga, is used also in Bharat Natyam to show the meditative state.
An interesting example of a Mudra for the dance, which is deeply rooted in neurological truths, is the Mudra used to depict the Rakshasha or the demon. We noted in the case of the Jnana Mudra, the Mudras of Meditation or Wisdom, that the thumb, which represents the Higher Consciousness, is joined to the forefinger, which represents the individual self, and the three remaining fingers which represent the Tanmatras (the eighteen senses of man) are held tightly straight and together in a controlled position. This represents a man in a meditative state. In the Mudra representing a Rakshasha, the forefinger is held against the base of the thumb, with the thumb stretched out, indicating that the individual self willfully refuses to join itself to the Supreme Consciousness. The other three fingers representing all the senses are played apart widely, indicating that the senses of the Rakshasha are out of control. Neurologically, the hand position well represents a devil, a Rakshasha, a man who stubbornly refuses to submit his individual will to the Divine Will and whose senses are uncontrolled. This same kind of analysis could be applied to many other Mudras of the Bharat Natyam.
Another class of hand positions is more graphic and descriptive, and recreates salient features of the action / emotion / thought expressed by simulating the outstanding characteristics of the action. These Mudras are more obvious, such as those used to suggest carrying a pot of water, stringing flowers into a garland, closing and opening a door, eating butter and so on. The Kaya Mudras, holding the body in a defiant stance, an amorous stance, etc., play their part in communicating ideas and emotions as well.
The Pada Mudras reinforce the work of the Kaya Mudras. Chakshu and Mukha Mudras are the vital link between Hastha, Pada and Kaya Mudras and the Rasa to be created in the audience. The skilled, trained dancer learns to communicate with her eyes and subtle gestures of face, using facial muscles, eyebrows, eyelids and mouth to convey her point. The most exquisite communication is achieved without uttering a single word. Of course, elaborate instrumental and vocal music and the collective cultural consciousness of the audience is also drawn upon to achieve the total effect. When that magic of shared spiritual insight and awareness occurs, as it often does in a Bharat Natyam recital, it is amazing to think that so much has been shared, so many emotions, so many thoughts, so many experiences with nary a word uttered by the artist or audience. The purifying and uplifting process of that type of artistic communion must be experienced to be understood.
Through the science of Mudra, that rare moment of perfect and pure communion and oneness can achieved, whether uniting man with man in a high spiritual level of consciousness or uniting man with the Supreme Force in that fleeting moment of spiritual insight. The Mudra “gestures” the energy necessary and “seals” that otherwise intangible and illusive moment, fixing it for all time in our heart and nerves, bones and blood, mind and body, soul and thought – creating a solid foundation stones upon which to build a spectacular spiritual life.
The Mudra , that Divine gesture, “seals” into our very cells that , ‘Call to a Higher Life”, which can never again be denied!