Vinoth Kumar Shanmugam is a Trustee of Vishva Vidya Foundation which is focused on recovering Tamil Education and Bharatiya Shiksha and a Physicist by profession. He is offering an INDICA Course –  Bharathiyaar Paadalgal, or the songs of Subramania Bharathi, which will cover a collection of inspiring Tamil poems. 

These works cover a wide range of themes, from the celebration of India’s cultural heritage and the call for independence from colonial rule, to the advocacy for women’s rights and the upliftment of the oppressed. His vibrant language and evocative imagery capture the emotions and aspirations of a nation yearning for freedom. The rhythmic and lyrical quality of his poetry, combined with its profound messages, has made his songs timeless, continuing to inspire generations. The duration of the course is 12 hours and starts on November 19, 2024.

Through this INDICA Course, we hope to create an understanding of the historical and cultural significance of Maharishi Bharathiyaar’s work, explore his contributions to Tamil literature, analyze the structure of  Bharathiyaar Paadalgal and appreciate the lasting honor and respect accorded to Maharishi Bharathiyaar.

In this interview, Shri Shanmumgam speaks about his interest in these poems as well as how they can be a vehicle for uplifting national consciousness.

What is your main interest in Bharatiyar’s oeuvre and how did you study it?

My interest with the Bharathiyar’s work was mainly his national and Vedanta poems. During my school days, I used to read them which thrilled me in my early days. I wonder how a poet could write, think and live solely for his country. I studied atleast once in a week in my school days. 

When I grew up his Vedanta poems inspired me immensely. The Advaita philosophy was underlined in all his writings. It was expressed in simple lines which reached common people easily. His work on nature also reflected the Vedanta concept. I cannot say I have studied it, but I meditated on it. 

What is the structure of the course on  Bharatiyar? Should one know Tamil to appreciate the nuances?

Bharathiyar had touched many aspects of life and inspiration in his complete works. So I have structured the course with the topics like national songs, songs on Tamil Nadu, Vedanta songs, songs on national leaders etc. It is not compulsory to know Tamil to appreciate but it will be an added advantage to enjoy his poetic devices. One can understand, appreciate and enrich one’s national feelings through the course.

A senior musician recently sang to me a song by Bharatiyar on Ujjaini Kali and there is a shrine to her in Thanjavur. This shrine was installed by the ruling Martha’s to protect Thanjavur. How does the music of Bharatiyar, the shrine to the great Goddess and the connection to Ujjain demonstrate a national consciousness?

Bharatiyar songs and his life itself demonstrate national consciousness, he was born in Tamil Nadu travelled to Kashi and lived there for a while. Bharathi was aware that Kashi was the center of our national consciousness and hence he was there for a while to realise his inner soul. He knew and spoke many Bharateeya languages and set a example for integration. His songs on Chatrapati Shivaji, Guru Govind Singh, Balagangadhar Tilak, Mahatma Gandhi, Lala Lajpat Rai, Dadabhai Naoroji all speak about his national consciousness. 

How does the poetry of Bharatiyar resonate with the state of India today? 

I am not sure of Bharatiyar poems resonating with the state of India, His poems always resonated with the spirit of Bharath. He never believed in the modern state of India rather sang, worked for the spirit of undivided Bharath. He iimagined a British-free India which he had sung in the song “Aduvome pallu Paduvome”. He expected the unity and integrity with the people of Bharath. He advised total freedom in thoughts and deeds from the English. We have not achieved what he imagined but are striving for it.

With regard to your course on the Thirukkural, how can the pithy aphorisms connect to other literature of India?

This is worthy of being considered as a research topic: “Compare Thirukkural with other pithy aphorisms of Bharateeya languages”. Thirukkural can be compared with the other Dharma sashtras of Samskritham, Dohas of Hindi and the wise sayings in all languages. Since the philosophy is the same, we can find the commonality in thought across these works of Bharath in different styles. The script and style may differ, but the underlining thoughts are same.

Is there any poetry from other parts of India in the same metre?

The metre is the structure of the poem. The Thirukkural metre could be compared with the Gayathri Mantra which has the same metre. As we are aware, Gayathri Mantra is not a sloka, it is a meter. We have many Gayathri Mantra for many deities. 

Dohe of Hindi literature could also be compared with the Thirukkural couplets. Dohe also conveys meaning in a short form with great depth.

A lot of these works are moral and value based? What does it say about the society of the times?

Most of the Dharma shastras in Bharatheeya languages reflect the people’s mindset of those times. It is very certain that the people lived a rich life with high values and virtues. They had people around them insisting on these values when they sometimes diverted from the path. Since there is a lot of literature refecting this, it means people were educated in these values from a early age. It would have been the syllabus of schools (patasalas) of those days. The diversity in the structure of the works means that the literature was written based on the interests of the learners. We have shastras with high grammatical language and as well as with simple language in order to be accessible by all. 

The post Bharathiyaar Paadalgal – The Bard And His Songs appeared first on Indica Courses.

I am thrilled to invite you to three deeply transformative courses designed to delve beyond the surface of ancient texts and traditions. Together, we will explore the timeless wisdom of Indian Knowledge Systems through the Bhagavata Purana, Kavya, and Hindu Aesthetics.

Each course offers an opportunity not just to learn but to immerse yourself in a living tradition that has shaped the spiritual, philosophical, and aesthetic heart of Indian culture.

Courses Offered:

1. Bhagavata Purana: Exploring Cosmology, Bhakti, and Indian Knowledge Systems
Dates: 14 December 2024 – 22 March 2025 | Saturdays, 7:00 PM – 8:00 PM IST

The Bhagavata Purana is not merely a text; it is a cosmic journey that unfolds the universe through the lens of Bhakti. In this course, we will explore the conceptual framework of this “Ideal Purana,” its rich cosmology, and how it shapes the Bhakti Rasa. Together, we will unravel its role in the development of Indian philosophical thought and the Bhagavata tradition.

Enroll Now

2. Hindu Aesthetics: An Introduction
Dates: 24 December 2024 – 1 April 2025 | Tuesdays, 7:00 PM – 8:00 PM IST

Hindu Aesthetics is a holistic science where art, spirituality, and culture converge. This course invites you to explore the profound aesthetic sciences that inform not only the arts but the very essence of Indian spirituality. From poetics to dance, music, and architecture, we will journey through the aesthetic systems that have inspired and sustained Indian civilization for millennia.

Enroll Now

3. Introduction to Kavya
Dates: 19 December 2024 – 15 March 2025 | Thursdays, 7:00 PM – 8:00 PM IST

Kavya, the poetic expression of ancient and regional India, offers a window into the soul of Indian culture. This course explores the profound beauty of Kavya poetry, tracing its origins and evolution. Through engagement with Sanskrit and regional traditions, we will uncover the spiritual and philosophical dimensions resonating through its verses.

Enroll Now

Faculty: Dr. Nagaraj Paturi
Dr. Nagaraj Paturi, Senior Director & Dean of Indian Knowledge Systems (IKS) at INDICA, is a leading expert with over three decades in university teaching, research, and cultural studies. His expertise spans Folk Culture, Linguistics (Sanskrit), and Literary Studies. He has conducted extensive field research on topics like religious transgenderism and ritual-officiating sub-castes, showcasing his deep engagement with classical and folk traditions.

Trained in Sanskrit and Advaita Vedanta by his polymath father, Dr. Paturi is dedicated to transmitting Vedic sciences. His PhD explores Vedic parallels in Anthropology, Psychology, and Philosophy, connecting them to Indian and Telugu poetry.

At INDICA, he has developed numerous courses, curated 20 conferences, and 29 symposiums. A polyglot and polymath, he bridges Western and Indian knowledge systems. With over 120 publications, he has also contributed to cultural research projects, theatre, and media productions.

A Unique Pedagogy
This learning experience is designed to provide not just knowledge but to help you embody it. After completing the 15-hour online course, we offer a unique immersive experience at our INDICA-RITHAMBHARA Gurukulam in Bengaluru. Over two days, you will have the opportunity to perform a Homam with your fellow participants, engage with the faculty, listen to guest speakers, and truly embody this knowledge. Accommodation is provided free of charge, and participants are expected to cover travel costs. (A few travel grants are available for those who need support.)

Who Are These Courses For?
These courses are perfect for anyone seeking a deeper understanding of Indian knowledge systems that continue to influence global thought, philosophy, and spirituality. Whether you are a student, scholar, or seeker, we invite you to join us.

For more details or assistance, please feel free to contact us at reachout@indica.courses.

Let’s embark on this unique, authentic, aesthetic, immersive, and transformative learning experience together.

Regards
Dimple

Director, Academic Programs –INDICA

The post Embark on a Journey of Beauty & Bhakti appeared first on Indica Courses.

Ravi ji will be offering a course on Vrikshayurveda at INDICA Courses in August.  This immersive course aims to bridge the ancient science of Ayurveda with contemporary agricultural practices. It offers practical insights into cultivating crops naturally, enhancing soil fertility, and managing pests through time-tested Ayurvedic techniques. Designed for aspiring natural farmers, this course is open to anyone interested in natural farming, from beginners to experienced growers. Enroll to learn a holistic approach to farming that nurtures the environment and yields healthier produce.

Can you provide an overview of your research on ancient Indian farming practices? Were your books an outcome of this research?

My research revolves around Vrikshayurveda i.e. Ayurveda for Plants. Applying the Ayurvedic framework of Tridosha for curing the disease of plants and enhancing the quality of Agri-produce. Agro-ayurveda is becoming a popular term. Krishi Samhita and Gau Samhita are a compilation of few slokas from Sanskrit texts but are significant as ITKS (Indian Technical Knowledge System) collected from rural people of Bharat.

How do we understand Vrikshayurveda?

We can call it plant life sciences. As Ayurveda is for humans,Vrikshayurveda is for plant health. It is a well-developed separate knowledge system that applies principles of Ayurveda for Plant growth and well-being. It is a combination of basics of botany, soil sciences, agronomy, astronomy etc. It is not precisely focussed on plants but on agro-ecology.

What do we know about some of the key ancient farming techniques that were used in India?

Use of homemade biofertilizers and fermentation are some of the key-techniques that were used throughout India. Fermentation was done using fresh cow dung and jaggery. Also, the addition of cow urine acts as a natural organic solvent that helps in preparing the mixture of macro and micro nutrients.  

 Relevance and modern application

How do ancient Indian farming practices compare to modern organic farming methods?

Modern organic farming methods prioritise uses of bio-compost while ancient farming methods are more focussed on the soil than the fertiliser itself. What we know today as Natural farming (different from organic farming) is more similar to our ancient farming methods.

Are there any ancient practices that are particularly relevant or beneficial for today’s organic farmers in India?

Absolutely! Taking care of micro-climate, soil is much more holistic than just taking care of plants. Similar to the analogy of Allopathy and Ayurveda. Preventive health care systems, focussing more on life style crises is better than going for crises management.

What challenges do you foresee in integrating ancient practices with contemporary farming techniques?

First is the psychological barrier. A colonised mind never appreciates indigenous methodologies. Ancient farming techniques were based on human interaction, barter systems. Now, people are more and more dependent on finances. They have disturbed their soil so much that it will need some recovery time that will cause financial burden for the farmer. For bigger land-masses adopting ancient natural farming is not an issue.   

Sustainability and Impact 

How sustainable were ancient farming practices in terms of long-term environmental impact?

I think, that shouldn’t be even asked. There is no doubt on Sustainability of the techniques. When society is based on Dharma, Tri Rin Siddhant, Purushartha, it was never an issue. 

Can you provide examples of ancient Indian practices that promote biodiversity?

When it is monoculture people call it agriculture while Integrated farming is something that is said to include bio-diversity and is an inter-dependent system. Actually Monoculture is Chemi-culture and Integrated farming is the ancient Indian farming technique. One of the ancient practices was sowing different kinds of rice in the same plot. Use of different combinations of pulses and cereals in the same farm field.

Cultural and historical insights 

How was agriculture integrated into the cultural and spiritual life of ancient India? How does your organisation promote this knowledge?

Planting trees was supposed to fulfil tri-Varga i.e. three of the fourth Purushartha. Dharma, Artha, Kama pursuits can be fulfilled while engaging oneself in plantation. Also, use of Agnihotra is always integrated to the purification of pancha-mahabhuta. The use of yajna in Agriculture is itself a sign of integration of spiritual principles into the practices. Our organisation promotes natural farming techniques and Agni-hotra practices too. 

Can you share any specific stories or anecdotes from your research that highlight the ingenuity of ancient Indian farmers?

Santosh ji, a farmer from Karnataka prepared Kunapajala, seeing our videos and few others. He did some upgradation in his banana farm as per his understanding. He called me and said he not only solved his farm issue but also his insomnia that was a problem for him for last 3 years.  

Future perspectives

 What role do you think ancient farming practices can play in the future of sustainable agriculture in India?

There is a big role in understanding that we have somehow polluted our natural resources, the very fundamentals that are needed for our well-being. Quality food which is healthy needs to be brought back into the mainstream. It just needs pillars of research, Institutional funding and market ecosystem so that it can compete with modern chemi-culture techniques.

 How can modern farmers and researchers learn from and preserve these ancient techniques?

Learning by doing is the best way. Many self-made heroes are coming from different parts of Bharat. Sharing of their knowledge and exchanging the desi seeds will sure preserve these ancient techniques. We are also working hard to compile the Indigenous techniques.

Personal Experience

What drew you to research ancient Indian farming practices?

More than anything else, I believe it is Prarabdha. The farming sector needs immediate attention. I just tried every school of thought of natural farming and I was missing out on learning the science  behind it. There was a chapter on Vrikshayurveda in Brhat Samhita and finally after reading an article from Infinity foundation, I came to know that there is an actual treatise on Agriculture and that is not primitive in nature but very advanced. The curiosity to know those techniques brought me here.

What is the book Rishi Intelligence is all about? Is it related to agriculture?

When I went to scientists with this knowledge system, they thought it was some kind of Pseudo-science and would not be relevant in the modern era. Rishi Intelligence was an effort to bring ancient metaphysics of all Indic Sciences to the forefront so that people would start our own epistemologies. Applying Western science framework to our own knowledge system is sometimes detrimental and disregarded as not worthy enough to be called Vedic Science.  

The post Vrikshayurveda Can Guide Modern Agriculture appeared first on Indica Courses.

How has your study and work in Indica Moksha (Advaita Academy) shaped your value system?

Curating Indica Moksha has been a blessing for me for it provides a very easy means for Satsangha. I am always in touch with various Sannyasins and Acharyas discussing various things and get an oppurtunity to listen to their teachings on Vedanta and other Hindu Shastras. Adi Shankaracharya says in Vivekachudamani that there are three things which are rare and difficult to get in this world. They are मनुष्यत्वं मुमुक्षुत्वं महापुरुषसंश्रयः – being born as a human, having an Adhyatmika orientation characterized by a desire for moksha, and care and nearness to great spiritual masters. I have been lucky and grateful that through my work I have been able to come in contact with many great Acharyas and Swamijis.

How does doing a course differ from reading texts, interpretations/commentaries in the modern context where not only is time a constraint but also a suffusion of sources being available, at times confusing a seeker.

I think one can answer this from multiple perspectives. At a very transactional level, it is obvious that many people have desire for knowledge, but they lack time and opportunity to pursue them due to personal and professional pressures in life. To such people online course are definitely a boon, since they will be able to set aside a short duration once or twice a week for learning despite busy schedule. Further, not every person seeks to attain deeper knowledge and engagement with a subject, many merely want to familiarize themselves with the basic landscape. In all such cases, doing courses are helpful.

At a deeper level, when it comes to studying Shastriya subject, the position of tradition is that you must learn it ‘Guru-Mukhena’- from the mouth of the Guru for it to fructify in complete sense. Though we cannot say that courses such as the ones I will be teaching are anything like studying in a traditional manner under a Guru, nevertheless studying through these course will provide some basis, some foundation which can later be reinforced and broadened through self-study. For anyone to teach any course, they have to put in a lot of effort, research, and articulate the same in the best possible manner. The student is the direct beneficiary of the entire process.

Can you explain the role of dharma in different dharmashastras and how it evolves across texts?

Dharmashastra as the name itself denotes are treatises which systematically presents to us the subject-matter of Dharma. What is this Dharma? There is no one English word which can capture the comprehensive nature of the term. It could stand for innate nature, law, code of conduct, ritual action, duty, values, ethics, principles of governance, cosmic world order, and much more depending on context. However, more than anything, in the human context, Dharma refers to actions, specifically actions which can lead to overall wellbeing which would include material wellbeing as well as spiritual wellbeing in the form of attainment of Svarga and Moksha.

As far as the question of how Dharma evolves across texts, I believe the question itself is phrased problematically. The question assumes that a. There is always a linear uni-directional evolution of ideas. b. Dharma is one such evolving idea. c. Dharma is a human idea. All three assumptions are problematic because they do not reflect the Hindu understanding of Dharma. First, to the Hindu, the world is not uni-directional progression, but a cycle of emergence, sustenance, and submergence, that keeps on happening again and again and again. Therefore, any discussion of evolution in a linear sense must be used with a lot of caveats and can only be used in a very limited sense. Second, the Hindu understanding of knowledge is that it is eternal.

The Veda which literally means knowledge is eternal and self-existing. It manifests at the beginning of each cycle and withdraws itself at the end of the cycle only to remanifest at the beginning of the next cycle. In a similar manner, within a particular cycle itself, knowledge manifests and withdraws itself at different points in time, a point hinted by Bhagavan Krishna when he said to Arjuna that what he is imparting to Arjuna was what he had imparted at an earlier time to Vivaswan, deity of the sun who had then imparted it to Manu. Therefore, the idea of uni-directional evolution of knowledge, especially of subject-matters which are non-transactional, beyond human perception, and eternal in nature, is incongruint with the Hindu worldview. Third, in the Hindu scheme of things, Dharma is neither an evolving idea, nor a human idea. Dharma is the foundational principle of the universe through which Ishvara controls and runs the universe. It is a special manifestation of Ishvara Himself. As such Dharma is eternal. The essential principles of Dharma are always existing and ever-relevant. Dharma is thus not a subject of human imagination or evolution of human idea. Humans come to receive them through Veda, Smriti, and other Shastras through which the Divine Dharma Principle reveals itself to Rishis who could perceive them directly through the eye of Yoga and who inturn have taught them to us. Therefore, it is important to never lose sight of the fact that Dharma in its essence is eternal and as such Dharmashastra texts which impart knowledge about Dharma are always relevant and never become outdated.

So, the correct question to ask is, if Dharma is eternal, how then do we find diversity in the teachings of the Dharmashastras. The answer to this is pretty straightforward: while Dharma in its essence is eternal and its ideals unchanging, the universe and the society in which we live is itself constantly undergoing change. As such, the contextualization of the Dharmic teachings to cater to different situations creates diversity and differentiation in the practical teaching of Dharmic principles and the related practices on the ground. Different Dharmashastra texts have been composed by different authors of Dharmashastra tradition with the dual purpose of safeguarding the essential and eternal principles of Dharma as is and to contextualize these teachings to address situations that would have arisen at the time of those authors.

 The core of these compositions, namely Smritis, are given by Rishis and elevated sages who could perceive the past, present, and future, and gave instructions catering to different ages and persons. All these considerations create diversity in practical aspects of Dharmic teachings. To illustrate, the practice of Niyoga was permissible in previous Yugas but is to be discarded in Kaliyuga. This is not because there was an evolution of the idea of dharma with changing yuga, rather, it was because of the fact that the change in yuga caused human strength, both physical and mental, to diminish to a great extent and as a result, humans in general are no longer capable to perform Niyoga as it is prescribed to be practiced and instead may misuse it to fulfill their lustful desires. This is what I mean by contextualization of Dharmic teachings changes with context, but the essential principle itself remains eternal.

What is the significance of the Manusmriti in the context of dharmashastras? How have you researched this?

Manusmriti is the foremost of the Dharmashastra texts that is held in great esteem by not only other authors of Dharmashastra tradition, but also by great Acharyas of different Sampradayas. Mahabharata, for example, often involves Svayambhuva Manu as authority on Dharmic matters, and many times cites either in words or in meaning, content on Manusmriti. Adi Shankaracharya in his commentaries extensively cites Manusmriti and holds Manu and Vyasa as being authoritative source on Dharma. Dharmashastra commentators extensively cite from Manu. The tradition even holds that in case of conflict between Manusmriti and any other Smriti (or other sources such as Itihasa-Puranas) on any matter, then Manusmriti’s position must be taken as final as it has greater weightage.

The highest number of Sanskrit commentaries numbering nine are present on Manusmriti and even the earliest commentators quotes from those who were earlier to them but whose work has not survived. This shows that Manusmrti has always enjoyed an exalted position in the Hindu scheme of things and its exalted position is not a British creation as some want people to believe.

I have been engaging with the text in one way or the other for the last few years. It first began as an engagement related to particular themes, then I focussed on the place and relevance of Dharmashastras as a whole. Recently, I have been contemplating undertaking a more careful study of the text. In between, I had also studied portions of the text under a traditional teacher, Vidwan Venkataramana Hegde.

You are bringing out a book on Manusmriti next year. Can you share more about the book?

Yes. The book will be titled “Chatuh Shloki Manusmriti: An English Commentary“. It is in the form of a commentary on the opening four verses of Manusmriti which constitute the ‘AnubandhaChatushtaya’ or the four aspects of a text—namely, the subject-matter of a text, the fruit or utility of studying the text, the intended audience of the text, and the inter-relationship between the three. The aim is to provide a detailed and a systematic introduction to the study of Dharmashastras and clarify many prevalent misconceptions. Towards this end, the book also contains three Introductory chapters which examine the origination, transmission, contemporary relevance and the correct method of approach for studying the Dharmashastras. In addition to this, there are two chapters in Appendix which examines the question of Varna.

How do dharmashastras provide guidance on individual conduct and responsibilities? Does your book on Samanya Dharma delve into this? In what ways did dharmashastras influence social, legal and moral frameworks in Hindu society? Could you discuss the relevance of dharmashastras in contemporary times and their impact on modern ethical perspectives?

As mentioned earlier, Dharma refers to human actions that constitute the means for human wellbeing both at individual level and at social level. Further, this wellbeing is both material and spiritual. More importantly Dharma is the only means for happiness, be it in this world, or hereafter. Practice of Dharma both at individual and at social level, thus constitutes the mechanism to control our present and the future. Pursuit of Artha and Kama in isolation can at best impart resource richness and transient sensory pleasure at best, but often they are accompanied by frustration, anger, disappointment, loneliness, and many such negative traits. Be it an individual, or a society, the entity that pursues Artha-Kama alone, will soon experience loss of meaning and a great sense of emptiness. It is to avoid this that our great ancestors not only imparted the teachings of Dharma to individuals, but also ordered the society in such a way that it becomes Dharma and Moksha oriented in its outlook. This conception of ritualistic social order is what the Shastras call as Varna-Ashrama Dharma.

The Dharmashastras at once provides ethical guidelines in the form of enunciation of Samanya Dharma (which as you rightly noted is elaborated in my book by the same name), guidelines for specialized ritualized functions in society (Varna-Ashrama Dharma), and a guidelines on jurisprudence and governance (Raja-dharma and Vyavahara). All these formed the backbone of how Hindu society functioned in the past and they are very much vital today if we desire to create a Hindu Drishti- a Hindu approach to socio-cultural-religious-legal issues in society.

Currently we function in a system borrowed and deeply influenced by western modernity characterized by secularism and enlightenment theology. However, this is slowly but surely leading us towards our own intellectual annihilation. If we want to rectify the situation, it is not enough to put the phrase ‘Hindu’ or ‘Dharmic’ in front of every contemporary idea, rather, we must revive Hindu epistemology, ontology, and ethics, to create a discourse based on our own worldview. Dharmashastra is very much vital for this process.

At an individual level, Dharma is always relevant and as such our actions will fructify its results , good or bad, irrespective of whether we believe in Dharma or not. Hence, understanding and living life according to Dharma is most beneficial to us as it is the sole means for true happiness and wellbeing.

What are the criticisms or controversies surrounding the interpretation and application of dharmashastras?

In contemporary times Dharmashastras have become no-go zone. They are the favorite punching bag for both the political left and the right and everyone in between. They have been burned, demonized, severely abused, or plainly ignored and sidelined. Very rarely have people engaged with them in a serious and open-minded manner without preconceived bias. Much of the controversies and criticisms owe to this preconceived bias which has prevented honest engagement with the text. More importantly, the contemporary society has willingly moved away from Hindu traditions and worldview and adopted modernity and enlightenment values as the way of life. This has resulted in further controversies and misrepresentations of the Dharmashastric worldview, be it with regard to its treatment of women, or its conception of varna based society.

Can you provide examples of specific cases or scenarios where dharmashastras offer guidance on moral dilemmas or ethical issues from which students could learn to apply knowledge.

Take any socio-cultural issue, Dharmashastras will have something to offer on the subject. Many of my work including those on menstruation, abortion, adultery, and homosexual unions, have focussed on what Dharmashastra brings to the table on these important socio-cultural issues. Then, the ethical part is of course obvious. Dharmashastra provides important advice on how to live ethical life and provides an ethical framework for evaluating human actions in general.

Do tell us about your upcoming course on Dharmashastras. What is the aim of your course? Who is your target audience?

The course seeks to address some of the problematic issues in the contemporary approach to Dharmashastra texts that we discussed above and facilitate a better understanding and appreciation of Dharmashastras and their relevance to contemporary world by highlighting certain important aspects of their textual landscape and the worldview that informs them. Notably, the course approaches Dharmashastra texts not as artefacts of the past which needs to be studied for historical information, but as Shastra Pramana that reveals eternal principles of Dharma relevant to us here and now and how its teachings can benfit us today. Towards this end, the course will provide a systematic introduction to Dharmashastra texts, its place in Hindu scheme of things, and its subject-matter. As far as the target audience is concerned, anybody who is interested in understanding Sanatana Dharma and Dharmashastras can take the course.

The post Engaging with Dharmashastras Vital to Shaping Our World View appeared first on Indica Courses.

The post Bharatiya Manasa Shastra Helps Balance Body and Mind appeared first on Indica Courses.

At a session at his Dhrupad Gurukula, Ramakant ji had said one kind of music can communicate at a level where other mediums cannot express emotion adequately. “Such music – that takes one towards ‘thoughtfullness’ is desi music.” Mārgi music on the other hand, “is that which takes one towards ‘thoughtlessness’. Towards stillness. Silence.”  (Mārgi and Desi Music. In traditional Indian arts, we… | by Sajan Sankaran | Medium

In his sessions for Indica Courses, Sajan is focussing on beginner level courses, “in the sense that prior Dhrupad training is not a prerequisite to attend. I hope once the learner base grows large enough, we can move on to more detailed and advanced courses. I try to accommodate people with all backgrounds of musical training and exposure to the best of my ability in the program design.”

One Dhrupad observer has said: through music, we are willing to approach cultures beyond our own, and that on our shelves (and in our ears), we place them into conversation with each other.”

How can Dhrupad speak to other music cultures? How have you witnessed it in your travels? How do the tones, rhythms, and melodies of Indian music help to create empathy between cultures?

I think Dhrupad deals with music at such an elemental level, and that makes it easy to relate to for any seeking mind. Dhrupad is said to be an exploration of pure sound. A large part of the rendition does not even have words, but just abstract syllables that carry the sound. The first principles of musical sound are by definition universal. The aesthetic of Dhrupad features a paced out, systematic unfolding of the various melodic and temporal entities. This naturally increases the conscious engagement with frameworks that are closer to first principles than most other musical systems, thus making its appeal fairly universal. Seeing the diverse geographic and cultural backgrounds of the various students at my Gurukul, and also seeing the reception to Dhrupad in my own travels in and out of India, has only reinforced this notion.

You are a prime example of Indian music taking several births to learn. An IIT graduate, what made you suddenly turn to Dhrupad. Did you recognize it as some past connection?

I certainly subscribe to the premise of continuity of knowledge across births. Given that I have no convincing way to look back though, I find more utility in being grateful for having arrived here, however it may have happened. When encountered with the vastness of this knowledge system and the growing but minuscule range of my own discovery of it, I find some respite in reminding myself that my sadhana now will manifest in some form in the next cycle!

The music is arranged into 6 primary ragas, 10 basic thats, Raginis and so on all bearing a relationship to our Gods. Can we then speak of this music as devotional in its aesthetic or as being drenched in Bhakti rasa?

It’s crucial to understand that Dhrupad, like many traditional Indian art forms, exists as an integral part of a larger whole. This art form embodies a conscious and unconscious blending of values from various domains of Indian knowledge systems, including different traditions of worship, as well as intellectual and philosophical traditions. Dhrupad seamlessly coexists with these multifaceted aspects of Indian culture. Even my personal exploration centers on investigating the convergence of Dhrupad and Yoga, both in philosophy and practice. It’s important to recognize that Dhrupad thus can’t be purely termed ‘secular’, in that it cannot be removed from its associations with multiple coexisting traditions. Many Dhrupad compositions have a devotional nature, reflecting their deep spiritual connections.

The approach to Dhrupad can vary, encompassing an intellectual and philosophical practice that worships the pure consonance of sound, or it can be explicitly devotional, involving visualizations and engagement with various forms. While the direction of worship need not be constrained by religion or form, the phenomenon itself is pervasive, transcending boundaries.

How important is it to know the history of Dhrupad to understand its current essence….its Vedic roots, the role of the Dagar family, your own gurus….is it an unbroken tradition. How important is it for learners to be aware of art history in music?

I think it’s very crucial. My Guru – late Pt. Ramakant Gundecha, spoke of two distinct functions of music. The communicative/ evocative, and the meditative/ that which stills the fluttering of the mind. While neither is superior or inferior, they both are distinct from each other. Yet, they’re very close to each other. With the additional layer of aesthetics and beauty, it becomes a delicate balancing act to retain conscious awareness of the purpose of the music.

We often hear that Indian music is not just for entertainment, but serves a higher goal. Losing the connection with the history and roots could end up making this an empty statement. It becomes essential to remind ourselves of the fundamental thought and philosophy that led to the development of the music. The history, despite appearing as plain information, helps retain conscious awareness of the underlying thought frameworks, that is crucial to both preserving, and developing the art form holistically.

What about the philosophy of Dhrupad? Can we say its meditative nature arises not just from its vocabulary but also from the way the masters wanted it to be a route to a higher consciousness?

I’d like to answer this question with a personal anecdote. I once had a fairly intense 40 minute class with my Guru, where he essentially taught me to sing just one note. The intensity of focus demanded and the level of detailing were both enormous. Only towards the end of the class, I was able to reach where he was trying to take me. With a satisfied expression, he turned off the tānpura and asked me, “why is this the ‘re’ of Bhoopali?”. After giving all the answers about consonance of the sound, and the internal relationality of the notes in the context of the rāga, I realised he was waiting to point at something else; especially when he asked me, “All that is okay. But why does this ‘re’ exist for Bhoopali?” I was flabbergasted, and just waited intently for him to reveal the answer. He said, “This ‘r’ exists just to give you an opportunity to take your mind to the state of refinement and focus that was needed to reach there”.

That one statement stayed with me, and clarified the true essential purpose of Dhrupad for me. The unique, paced out, detailed and meditative approach of Dhrupad suddenly made so much sense apart from the context of its subjective aesthetic beauty. This incident was monumental in cementing my already strong love for this tradition.

I’ve realised very frequently in class, that through the nāda I was producing, it was essentially the state of my mind that was being evaluated. Refined and elevated. The ‘music’ simply gives a very effective means of subtle communication between the guru and the shishya to engage in such a knowledge transmission.

You combine music and yoga in your life. How do you think Yoga practitioners would be aided by learning Dhrupad? 

Music is usually seen by yoga practitioners as a tool to enhance the experience of other practices which are considered yoga. Like a flute playing in the background while practicing asanas, etc. By virtue of its general aesthetic and practice philosophy, Dhrupad allows one to look at the process of singing itself as yoga in practice. This can expand the horizons of the practitioner.

Being a distinct musical system that has developed over many centuries, Dhrupad also allows the practitioner to immerse into the phenomenon of aesthetics and beauty, which only enriches the experience of life itself.

While yoga is becoming popular around the world, people mostly still recognise it as a body practice. Engaging with a practice like Dhrupad can open one’s mind to a more holistic understanding of the system.

Is the general public aware of Gharanas or Sampradayas? Do you teach from your own learning, or is there a general base imparted?

To some extent, yes. Of course, Dhrupad in general faded out of the public consciousness, and is only now going through a revival since the past few decades. The general awareness about Dhrupad is quite lacking, but it’s fast growing.

There certainly is a general base of knowledge that gets transmitted. Every Guru does customise the pedagogy to varying extents too. The tradition is a living one, and as long as the continuity is maintained, innovation is encouraged. My Gurus worked a lot to make the teaching more structured and university accessible, and I do my best to uphold those principles in my own teaching. While I do customize, my teaching design a lot based on the need, I do not deviate from the core principles and philosophy of my Gurus’ teaching methods.

Do you think the digitization of music has impacted the tradition? Would the Dagars have imagined how music is being received today?

I think the impact has been huge. In the context of archiving and access, it’s only positive. Access to quality music has been democratised. Anybody from anywhere can today discover and experience the beauty of various musical traditions, and even learn it seriously.

I don’t think anybody could have imagined that we would get to where we are. I also feel that the response to the current scenario would vary greatly from individual to individual. I’m sure some people would be thrilled to see the possibilities, while others would lament at the same things.

The post From Thought to No Thought With Dhrupad appeared first on Indica Courses.

What are the biases, both positive and negative, that come into play during studies of Western civilization and schools of thought as opposed to those of the East? How do you deal with them while teaching your courses, such as that on the Introduction to Western Civilization?

One always has to be aware of existing dispositions of power. The hegemony exercised by Western states in the world sets the stakes for the interpretation of their knowledge system as well as those of the others. Interpretations of “Eastern” thought—a curious term to be sure, given the multiplicity of civilizations it encompasses—must be examined, accordingly, wherever they come from, to understand how they operate within this economy. In my teaching, I do not pretend to be somehow outside the knowledge system in which I was taught; but contestation is a deeply held value in that system, so it is not strange to be a dissident voice within it; it is also a value deeply held in it, albeit one which has not always been honored, to seek the integration of plurality and difference with as little distortion as possible, and so the effort to understand other civilizations is important to my own.

Ancient Greece is named the cradle of what is now called Western civilization. Were older civilizations of nearby areas merely an influence, even recognized by the Greeks themselves, or do the roots of Western thought run deeper, and farther, than normally believed?

I’m not sure what counts as “normally believed”. I think that at this point any responsible scholar understands that the neighboring civilizations of Egypt, the Levant (and Mesopotamia by extension), and Anatolia exerted tremendous influence on Greek civilization. Greeks were also aware, to a lesser extent, of civilizations more distant. We need to recognize this without reducing any civilization to a mere bundle of influences. The Greeks themselves understood that they existed on the fringe of civilizations much older and more powerful, but they also believed that this liminal position granted them a unique perspective.

When you speak of Ancient Greek as a sort of interstitial space and a conduit for cultural transfer, is that representative of Western thought as a whole, or has Western civilization become a fixed identity (for better or for worse)?

I think that it is against the fundamental character of Western thought to have a fundamental character or fixed identity, and this paradox cannot be eliminated without eliminating the aggregate we know as “Western” civilization. If “Western” thought had such a fixed identity, it would not be “Western”, but Hellenic, Roman, Celtic, Slavic, German, etc.

Could you highlight the main paradoxes that underlie the so-called Western identity? Are these paradoxes found elsewhere as well, and how self-aware are people of these paradoxes in the philosophies of which they are proponents?

I just spoke of what is probably the main such paradox. Other knowledge systems have their own constitutive paradoxes, I think. I believe that it is the nature of thought to uncover paradox, because paradox powers thought. As for self-awareness, it’s formed in many different ways. No philosophy is without self-awareness, but one may not recognize how that self-awareness is expressed.

While almost everything is taught through the lens of Western thinking and civilization, very rarely is this Western perspective studied and criticized in itself, rather just accepted as the most modern and progressive school of thought. How has this affected the growth of this school of thought?

Hegemony has not been good for Western thought, but we are starting to think our way out of it.

In any discourse comparing the theology of different cultures, such as in your course on Plato’s Republic and Vyasa’s Mahabharata, how does one draw parallels and similarities without treating one civilization simply as a facsimile of another?

This is an ever-present danger, which is why I am so reluctant to engage in such comparison. Let’s not forget that in that course, my friend and colleague Prof. Adluri was there to discuss the Mahabharata. I think that to engage in such comparison safely, it is important above all to recognize that most parallels occur because the same or similar experiences have led thinkers to similar theoretical articulations. In this fashion, we avoid the danger of recklessly adducing diffusion to explain formulations which can easily have arisen independently, a pernicious form of historicist reductionism. To assume that people cannot arrive at similar conceptions independently is nihilistic. The most effective safeguard to ensure that comparison does not become reductionist is polytheism. In Plato’s Philebus, when a glib sophist attempts to reduce the Goddess Aphrodite to the concept of ‘pleasure’, Socrates says that he, by contrast, holds the names of the Gods in awe greater than any merely human fear (Philebus 12c). To the degree that we share this innate piety, we shall respect the limits of ‘translation’ in general. By honoring another tradition’s Gods, we also secure that tradition’s autonomy.

When such parallels are drawn, do you think that they are homologous or analogous? That is, can they be traced to a common source, or interactions of the two societies and their religions, or have these parallels simply arisen because of the underlying truths about humanity in both?

All of these are possible at the same time, in different ways and to different degrees: ancestral commonalities, historical interaction, or experienced truth. Even if a common source can be traced historically, though, we will have grasped nothing except insofar as we know what was transmitted, which demands that we understand the content in question in its own right, drawing us away from the plane of historical explanation or reduction.

Do you find a difference between the interactions of a monotheistic and polytheistic religion as compared to that between two polytheistic religions? In the very nature of polytheism, is there greater scope for acceptance of a differing perspective and tradition?

I think that it would be difficult to argue otherwise. After all, a polytheist tradition has already formed by arriving at a harmonious reconciliation of many differences within itself. Indeed, simply to acknowledge that other people have other Gods, Gods that actually exist, is already a reconciliation. It need not proceed to wholesale incorporation. This is the wisdom inherent to polytheism: it’s not a problem that other people have other Gods.

Is there a difference in the way that Greek polytheism is viewed by modern society as opposed to Hindu polytheism? Are the myths and legends interpreted differently? If so, what do you believe is the cause?

Modern society, by which we generally mean the Christian and post-Christian West, and whoever accepts to whatever extent the hegemony of that project, typically treats Greek myth as mere literature, or as expressions of human psychology, rather than as religion, theology, revelation. Hinduism, on the other hand, while accepted as a religion, is typically, as the price of that acceptance, treated as monotheistic. This is a question of power, the power that the Christian and post-Christian Western tradition appropriated for itself by denying the polytheism at its core, and the power its proponents wish to gain over a civilizational competitor by convincing them to abandon their own Gods. A tradition sundered from its Gods has no defense against appropriation.

What would you hope is the mindset shift experienced by someone who has attended your course on the Republic and Mahabharata?

With respect to my contribution to that course, I would hope that they would come to engage with the Republic through the concerns that the text itself explicitly states, rather than any of the modern agendas to which Plato’s text has been yoked. A basic part of this is taking Plato’s piety seriously, instead of treating its expressions in his works as ironic, which is actually a resistance to Platonism itself.

What are your thoughts on sectarianism in monotheistic versus polytheistic religions?

Polytheisms as they actually exist exhibit polycentricity, which means that they explicitly, or more often implicitly, accept that for devotees of any particular God, that God is the God. Where there is sectarian conflict in polytheisms, these are the underlying stakes. It’s not a question of accepting a God with some limited role or function; no one reasonable would have a problem with that. There is conflict because of the recognition that accepting a certain God is going to mean accepting that total perspective, and that is going to alter society in some way. And by the same token, that means that the reconciliation achieved when that conflict has been resolved is all the more impressive, because it doesn’t involve the relinquishing of that God’s autonomy or the assimilation of Their difference without remainder.

How is your course on Western Philosophy structured and how can it help in transcivilisational research?

In my course Introduction to Western Civilization (the lectures from which have been published as The Way of Being: Polytheism and the Western Knowledge System), I tried to follow the thread of a certain major train of thought which began, in some sense, in ancient Greece—though the sense of ‘beginning’ here is itself a major problem for thought, tracing this line of thought all the way into our own time in what is termed ‘the West’, this designation being another problem. I was trying, in effect, to grasp the project of ‘Western’ thought; not the project it has by any means understood itself to be undertaking at any given time, but the course that it actually set for itself through the problems it took up and the solutions it treated as successful at each stage, the transformations it imposed upon itself, never really understanding the consequences, but rather experimenting upon itself without prejudging the result. One cannot understand the Western knowledge system without recognizing this experimentalism running through it. And this is important, obviously, if one is going to attempt cross-cultural comparison, because that Western project has a powerful impetus toward appropriation and assimilation, and any tradition compared to it is likely being absorbed thereby into one or more of its ongoing experiments.

The post Civilisational Philosophy through Time and Thought appeared first on Indica Courses.

INDICA invites you on an intellectual journey across time and space with the launch of three distinct and enlightening online courses.

Polytheism in Greek Philosophy-I

The first course in our spotlight, “Polytheism in Greek Philosophy-I,” takes you back to the heart of Greek polytheism. Guided by esteemed philosopher Dr. Edward P Butler, students will explore the multi-dimensional world of Greek philosophy. This course aims to debunk simplistic perceptions of Greek polytheism and introduces learners to the profound depths of Greek philosophical thought.

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Our second course, “The Now of Then: Ancient Wisdom for Today,” is a journey towards living a Dharmic life, anchored in the understanding of Ṛta and Satyam. Under the expert guidance of Nrithya Jagannathan, students will delve into the timeless wisdom of Bharatiya Samskriti.

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Leadership Lessons from the Puranas

Finally, the third course in our spotlight, “Leadership Lessons from the Puranas,” is led by Dr. Rajshekar Krishnan. This course dives deep into the leadership concepts as described in the sacred scriptures of Puranas.

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1. Introduction to Visistadvaita: Explore the profound philosophy of Visistadvaita that beautifully unifies the individual self and the Ultimate Reality. Learn more here.

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Best regards

Team INDICA

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Best regards,

Team Indica

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