Dear friend
Let me melt
This heart of ice
In the morning sunshine
Of your gaze

Websites from the ISKCON Universe
Date: 27th December 2011
Kirtan pioneer Vaiyasaki Das held three events on the Gold Coast during his 2011 Tour:
Wednesday 21st December 6.30pm – Bhakti Centre Gold Coast Thursday 22nd December 6.00pm – Broadbeach Surf Life Saving Club Friday 23rd December 6.00pm – Durrumble Hall Tuesday 27th December 6.30pm – Peace Yoga Centre, Burleigh Heads VAIYASAKI DAS: His first album was released in 1982 followed by numerous CDs, which are now considered seminal in the yoga/kirtan/world music universe.
Today Vaiyasaki Das is a much sought-after performer, conducting workshops, doing concerts, and leading yoga festivals and retreats worldwide. Sharing his heart through music and chanting is the basis of his life. He has delighted audiences and taught Bhakti-yoga in 64 countries with people from all walks of life and cultures, and performs his music with a mission to uplift the consciousness of the planet.
His considerable knowledge of the vast repertoire of Indian bhajans and kirtans has provided the foundation for a new generation of artists, in the flourishing genre of music for yoga and mantra meditation.
Vaiyasaki Das’s CDs include: The Way of Love, Charana Kamal, Kirtan Rasa, Hari-Nam-Ananda, Transcendence, Vrindavan Chandra, Chaitanya Chandra, Ratha-Yatra USA, The Turning Point, Best of Vaiyasaki, Sri Krishna Divya Nam -the beautiful divine name, & Kirtan Explosion -high energy kirtans.
Recorded on Dec. 1, 2011 in Murwillumbah, Australia.
Recorded on Dec. 1, 2011 in Murwillumbah, Australia.
Recorded on Dec. 1, 2011 in Murwillumbah, Australia.
Recorded on Dec. 1, 2011 in Murwillumbah, Australia.
I’m getting ready to go up to Hudson to paint a mural at Sadhana Yoga. I’ve only done a few murals so I’m a little nervous, but excited too. Any large canvas is a freeing experience to create on, and walls are as good as any. Body parts even better!
The theme of the mural is the sacred grafitti found in the holy town of Vrindavan. The divine names of Radha and Krishna are painted there on almost every wall, tree trunk, lamp post and rickshaw hood. For many renunciates that spend their days there, the main service that they perform is to paint and repaint these names with coarse brushes and a small steel tiffin of paint. Sometimes they are painted in English, more often in Sanskrit.
In Hudson, I’ve been asked to paint them in Sanskrit, even though most people that see it won’t be able to read it. Sanskrit is written in a script called Devanagari, said to originate in the heavens. For this reason, the lines themselves are considered to be purifying to look at, even if they are nothing but pretty curves to the beholder. A sacred word, like ‘om’ is considered to be the same in quality, whether written, heard, spoken or just seen.
Aside from divine names, I’m also planning to incorporate another touch of Vrindavan – green parrots! These beautiful birds used to be present everywhere there – screeching and twittering on every branch and phone line. I remember a book I used to read as a little girl – ‘But Where Is Green Parrot?’ These days they hide in real life too, but you can still see the telltale flashes of of electric lime in the trees in the less inhabited areas of Vrindavan. In the stories of Radha and Krishna, they often act as messengers, carrying secrets between friends and lovers or acting as confidantes.
Parrots have the wonderful ability to remember language and repeat it, something that is both celebrated and looked down upon in bhakti yoga teachings. Sukadeva (literally, best of the parrots), the reciter of one of the most important bhakti texts, the Srimad Bhagavatam, is praised for his feat of speaking the text for seven days and nights continuously, imparting the wisdom just as he received it from his teachers. But the same teachings also warn us not to become parrot-like and repeat things that we hear without deeply understanding and internalising them.
I’m getting ready to go up to Hudson to paint a mural at Sadhana Yoga. I’ve only done a few murals so I’m a little nervous, but excited too. Any large canvas is a freeing experience to create on, and walls are as good as any. Body parts even better!
The theme of the mural is the sacred grafitti found in the holy town of Vrindavan. The divine names of Radha and Krishna are painted there on almost every wall, tree trunk, lamp post and rickshaw hood. For many renunciates that spend their days there, the main service that they perform is to paint and repaint these names with coarse brushes and a small steel tiffin of paint. Sometimes they are painted in English, more often in Sanskrit.
In Hudson, I’ve been asked to paint them in Sanskrit, even though most people that see it won’t be able to read it. Sanskrit is written in a script called Devanagari, said to originate in the heavens. For this reason, the lines themselves are considered to be purifying to look at, even if they are nothing but pretty curves to the beholder. A sacred word, like ‘om’ is considered to be the same in quality, whether written, heard, spoken or just seen.
Aside from divine names, I’m also planning to incorporate another touch of Vrindavan – green parrots! These beautiful birds used to be present everywhere there – screeching and twittering on every branch and phone line. I remember a book I used to read as a little girl – ‘But Where Is Green Parrot?’ These days they hide in real life too, but you can still see the telltale flashes of of electric lime in the trees in the less inhabited areas of Vrindavan. In the stories of Radha and Krishna, they often act as messengers, carrying secrets between friends and lovers or acting as confidantes.
Parrots have the wonderful ability to remember language and repeat it, something that is both celebrated and looked down upon in bhakti yoga teachings. Sukadeva (literally, best of the parrots), the reciter of one of the most important bhakti texts, the Srimad Bhagavatam, is praised for his feat of speaking the text for seven days and nights continuously, imparting the wisdom just as he received it from his teachers. But the same teachings also warn us not to become parrot-like and repeat things that we hear without deeply understanding and internalising them.
"...the nonpermanent appearance of happiness and distress, and their disappearance in due course, are like the appearance and disappearance of winter and summer seasons...and one must learn to tolerate them without being disturbed."
"...the nonpermanent appearance of happiness and distress, and their disappearance in due course, are like the appearance and disappearance of winter and summer seasons...and one must learn to tolerate them without being disturbed."
Date: 19th November 2011
Rajashree Behera performed Oddissi Cultural Dance at Bhakti Centre. She explained each item before the performing the Ganesh Tandava and the Nine Moods of Human as in the Ramayan. The local Devotees enjoyed the wonderful performance and her dance expressions.
Rajashree Chintak Behera is one of the brilliant exponents of the Odissi dance. Rajashree’s dance is marked by gaiety, lyricism and beauty. She is trained under Guru Durga Charan Ranbir and Guru Harihar Mohanty in the Odissi style of Late Guru Durga Debaprasad Das. She is a holder of Bisarada Purna in Odissi Dance from Akhila Bharatiya Gandharva Mahavidyalaya Mandal, Mumbai, as well as a Master in Economics from Utkal University, Bhubaneswar.
Accolades
Widely acclaimed Solo Danseuse
Recognized as “A” grade Dancer by Orissa Sangeet Natak Akademi
An ‘A’ grade artiste in DoorDarshan
Recipient of Govt. of India Scholarship (Junior and Senior), Department of Culture
Govt. of India Junior Fellowship in Classical Dance, 1993-1995
My friend Jennifer Mazzucco just sent me this beautiful video about Tashi Mannox, an English calligraphy artist. I loved hearing his eloquent thoughts on creating devotional art that doesn’t preach, but just tries to communicate philosophy and ideas that will uplift people. Tashi said that he feels the responsibility of an artist or musician is to uplift everyone they come in contact with.
Jennifer and I are creating a devotional art workshop together that we’ll be presenting for the first time at the Kripalu centre this winter. Our aim is to explore the process of creating devotional art – how getting creative opens us up to a deeper sense of connection with the soul and the Divine, and how this act of creation can teach us so much about the joy of focus and detachment.
In other news, I’m in DC right now spending time in the recording studio with Gaura Vani. We’re working on new music that encompasses both kirtan and Sanskrit mantras, as well as original English lyrics. It’s a fun process, but very new to me also. Music can be so spontaneous and free flowing, and this suits the organic, immediate nature of prayer so well. In crafting something and attempting to capture it, it can be hard to retain the original feeling. Throughout, we must constantly remember that imperfection is inevitable – the creative spark that flares into a small, bright flame is only a tiny speck of divine beauty, and we are fortunate if we can hold it for even a moment.
Date: 30th October 2011
Bhakti Centre Gold Coast purchased a Clay Mrdanga to be used for the Mayapuris Tour during the Northern Programs of their Australian Tour. Due to popular demand the Gold Coast program were performed at the following venues, explosion of spiritual dance and music :
Wednesday 26th October 6.30pm - Bhakti Centre Gold Coast, Surfers Paradise Thursday 27th October 6.00pm - Surf Life Savings Club, Broadbeach Sunday 30th October 10.30am – Harinama in Burleigh Heads Sunday 30th October 1.00pm – Centre Stage, Caville Ave, Surfers Paradise Sunday 30th October 6.30pm – Peace Yoga Centre, Burleigh Heads All door donations at this Event was donated by Peace Yoga to their wonderful community work in IndiaThe Mayapuris 2011 Tour Teaser
The Mayapuris have crash-landed into the kirtan/chant genre, quickly becoming the most talked-about group in this growing scene of exotic world music. Their story starts in the quiet backcountry of North Central Florida, Alachua, a small village-esque town known to some as the capital of the underground grassroots-kirtan movement in the West. India 2001: The Mayapuris were teenagers fresh out of international boarding school where they trained in kirtan, a musical art form that has existed for thousands of years. They wanted the sound of their thunderous mridanga drums to shake the globe. Naming their group after the holy village of Mayapur, where the kirtan movement started, The Mayapuris traveled the world enthusing crowds with their dynamic drum dances and kirtan performances. In the summer of 2009, Mantralogy, a division of Equal Vision Records, signed The Mayapuris and placed them in the studio with kirtan producer Gaura Vani (As Kindred Spirits, Prema Hara, Ramya). Their debut album Mridanga (June 22, 2010/Mantralogy) brings a youthful and hip new energy to kirtan. “Rhythm is a universal language,” explains the Mayapuri drummer, Bali, “It transcends all external barriers. Everything. Race, religion, tongue, creed, culture. It’s the heartbeat of the universe.” The Mayapuris are unique in that they all originally were drummers before they became kirtan multi-instrumentalists. Their music is driven by rhythm. It’s the language they speak best. The Mayapuris are travelers, kirtan gypsies, the breed of performers who stop keeping count of how many countries they’ve performed in. They hit six continents in 2009, and that was before they had a CD to call their own. After their first album drops, who knows? “There is a small village in India, about an hour outside of Mayapur that holds this prophecy. It’s about two hundred years old,” the lead singer Vish explains, “It says that the thunder of the mridanga drum will resonate throughout the entire world. We want to be a part of that.” The Mayapuris named their album after their shared love, the mridanga, and it is the heartbeat of their sound. Joined to its rhythm is the stirring musicianship that evolved after years of training, classical instrumentation mixed with the spontaneity of fiery vocals, a place where funk meets math and melody to produce beautiful music. Gaura Vani, accomplished producer and recording artist, captured their unique and powerful sound in the studio. “We couldn’t have had a better person to work with, “Kish, the group’s flute player says, “We’ve been doing music with Gaura since we were teens. He knows us, he gets us. He has a great ear and his arrangements are deep and tasteful. Gaura is the kind of producer who really brings the best out of the people he works with.” This is not saying that the production was an easy job. The Mayapuris come from a musical background that is as varied as it is unexpected. Vish was in a Boston hardcore punk band after returning from India. When Kish isn’t studying classical Hindustani flute he’s grooving to reggae. Bali was the front man and lyricist for a hip hop group while immersing himself in South Indian Carnatic drumming. And Vrinda cites Michael Jackson as one of the greatest musical/dance influences in her life (this coming from someone who studied in the ‘Ivy League’ of South Indian classical dance). Together they invoke the influence of an international community of musical spirit: Nusrat Fateh Ali Khan meets a 21st century group of musical upstarts. “The great thing about world music is its accessibility.” Vrinda says, “It doesn’t matter where you come from, what language you speak, your cultural background. This kind of music speaks to everyone. Our goal was to make an album that reaches into that common bond the citizens of earth all share, a love for beautiful sound.” “Our music is the hybrid offspring of our upbringing,” Bali adds, “Mridanga grooves, it builds, it’s an ancient tradition with a fresh spirit.” This is more than a kirtan album, it’s a life story broken up into chapters. It represents the Mayapuris; who they are and what kind of sound they embody. “Our music is infused with emotion, with passion, love, playfulness. We’ve grown up with it. We live it,” says Kish, “The band, the album, the shows…they are an offering. We love making music. We love being Mayapuris.”