Rudra and the Patriarch

September 27, 2021

Ardra Nakshatra

Fathers Moon Pitru Pakasha

Rudra and the Patriarch

This nights half descending Moon ritual
will be in lunar house of Ardra Nakshatra.
Also Known simply as Rudra Nakshatra.
This is the lunar house of raging
storming god of destruction.
The destruction we are talking of
when we address Rudra,
is not mere revolutionary reactionism,
but rather the force of full-on potent dissolution.

We can help each other by listening to each other.

Dear friends of the healing power,

We are now in the Pakasha (two week phase) of the father. This is the time of ritual Yogic healing of the patrilineal thread of ancestry.

Since time immemorial, this annual Lunar junction has been kept by Yogic culture to undertake the ritual work of healing the spirits and energies of the patrilineal thread of ancestry.

Patriarchy has become a tainted word

that is synonymous with

oppression and inequality.

Consider these questions if you will:

  • What is the the most dignified potential of the Patriarch?
  • What is the dubious deviation of the Patriarch?

Pondering such questions, obviously brings us to assess and consider the how and why of dignity and deviation.

  • What is the foundation of dignity?
  • What is the foundation of undignified deviation from the sacred heart?

The Wounds of the Patriach

The wounds of the Patriarch can cause more wounds to those who would oppose him.

The wounded Patriach is the sick King who rules perversely and spreads septic spiritual infections to those he oppresses.

The seat of the Patriarch has the potential to care.
His seat has the potential to fortify the
sacred heart of those in his domain.

An even brief glimpse as the that misdeeds of the Patriarch along the line of history will show the kind of disruption he leaves in his wake.

Consider just a few of the regimes of the last century. We also see what is in plain sight in the present, if we but look at the shadow cast by the hand without integrity.

The Patriarch cares not for integrity and,
by his own hand, loses everything,
all the while thinking he’s filling his sack with gold.

Water, Milk & Blood

There is a Tantric saying that is often attributed to the legendary Tantic Yogi known as Goraknath.

If you ask you get water
If you don’t ask, you get nourishing mothers milk.
If you take, you get blood

Water sustains, Milk nourishes but Blood is hard to digest and condemns one to a state of the living dead.

When no more blood is available to take, then the hand of the sick Patriarch withers in plain view.

Now think about these 3 energies of Water, Milk and Blood in terms of the 3 Gunas.

Gunas are the principles of nature.

Very simply put, we could say that to plant the tree and harvest the fruit takes action. Climbing a tall tree can be quite a feat.

Nourishing oneself from luscious fruit, balances us and connects us to earth, and then at the end of the day we shit the fruit out.

The tree once fresh and fruity dries up and goes barren in the winter.

Constipation is one of the deadly sicknesses of mind body heart and spirit.

The Patriarch is basically a constipated killer of the helpless, that he binds to himself through his sick power.

Blood Milk and Water
by the legendary artist Ciel Bergman

Here are listed the 3 qualities that are know as the Gunas.

Rajas – Action, life and birth.

Satva – Balance, joinery and nourishment.

Tamas – Tiredness, withering and decay

How can the patriarch be brought to a seat of dignified and noble power that expresses its force with compassion, humanity and integrity?

Excuse the expression please, but The Patriarch is well and truly fucked, and as a result of that, he is a fucker of the wound of fuckery that he tears out for himself.

He heaves his bloated bundle of fuckery up a hill made of the bones of those he oppresses.

Rudra Mudra

Potent Action of Heart

Rudra is the god of Rage who is infamous for his beheadings of the Patriarch!

The Tantric tales of the oral tradition are to be found scattered throughout the Yogic scriptures in written form

These are not mere stories to entertain, but rather, they are teaching guides about the intricacies of energy dynamics.

There exist several variants, but the stories tell of Rudra who is the king of rage, beheading his own father, and also his father in Law, and most probably a few others.

Rudra inhabits his Star constellation of Ardra Nakshatra in the celestial sphere of Orion.

When we ritualistically work with his Star, we work with rage and the themes of the father and child relation. This action is known as Rudra Mudra to the Tantrics.

This nights half descending Moon ritual will be in his lunar house of Ardra Nakshatra. Also Known simply as Rudra Nakshatra. This is the lunar house of raging storming destruction.

The destruction we are talking of when we address Rudra, is not mere revolutionary reactionism, but rather the force of full-on potent dissolution.

Rudra is the hunter of the Head of Patriarchy

Right next door to Ardra Nakshatra we have Mrigishira, which is the Star of the Deer head. Mrigishira is the star of the all-father creator god Brahma.

Another name for Brahma the creator is Mrigayu and this means a hunter and exploiter of the timid… the sick Patriarch in other words.

Now why is the gentle humble and timid star of the deer, the dwelling place of the exploiting hunting Patriarch?

The creator god Brahma, is well known for sexually hunting his daughter, hence the name Mrigayu?

The word Ardra literally implies ‘storm of tears’.

Rudra cleanly beheads the farther creator who oppresses and acts outside of the laws of integrity.

The story tells us of another sick patriarch named Daksha.

This Patriarch was known for executing ritualistic violence against animals, and also for his hatred against femininity and Women. So much so, that he caused his own daughter to combust because of his ridged narrow-hearted heartlessness.

She had warned him, but he persisted until her death.

The Patriarch is the destroyer of Love
and in the end, loses everything precious,
including his worthless head.

One chop is all it took for Rudra to separate head from body.

The Patriarch saw the raging storm of Rudra come screaming from afar, and assumed the form of a deer fled in terror.

Rudra means the screamer incidentally. And he made the sick Patriarch scream as head was shaved from off body.

Though the Patriarch was the pinnacle of prestigious pomp and a comander of the honour of his subjects, Rudra saw right through the facade, and like a head-hunting cascade of fury, he gruesomely decapitated the groveling governor.

Rudra is the vision to see
beyond the outer surface.

Rudra is the natural vision that sees the spirits of undignified Patriarchy that can infest the sacred heart.

Rudra sees the ghost and has a vision that sees way past the mannerisms and affectations of the host.

As the Patriach fled in fear from Rudra in the form of a deer.

Rudra got the head off the bloated body and tossed it into the celestial firmament, where it became the lunar house of Mrigishira, literally the Deer head star.

The Yogic teaching stories often tell of the Patriarchal grandfathers of creation and their misdeeds, such as we have seen in the above story.

The creator god Brahma attempting to sexually molest his own daughter is another tale that tells of a resultant head loss at the hand of Rudra.

For that stunt, Brahma lost one of his 5 heads. It was the one that looked up, and was connected to the subtle 5th element of Akash.

This story hides a code:

When we step into the seat of the sick Patriarch and use our power over those that we can oppress, then we sever the connection of the Crown Chakra.

Some variants tell of the body of the patriarch
getting a replacement goats head.

The Patriarch commits a whole hoard of atrocities against the feminine.

Womankind are hated by him. In fact, it could be said that the atrocities of the Patriarch are against the sacred heart.

He comes in many forms and lives in our midst, and perhaps even within us.

We have seen him portrayed in the tales above. We have read of how he indulges in everything from power driven animal sacrifice, to abuse and control.

Before we think that these atrocities are merely the stuff of stories, let us consider the rape, and pillaging of the Patriachal institutions.

Let us also consider the lingering astral tentacles of Patriarchy that we may carry even within our breast… the ones that strangle the sacred heart.

The story of one woman going up in flames in some old Indian scripture is no fantastical tale. It has been magnified in relatively recent times of mass-woman-burning by the hand of Patriarchal spirituality… These are real stories that pass the scent of burning flesh and boiling blood right under our noses.

Ruhu and Ketu

Be head or be body? Topless or Bottomless?

Beheading is symbolic of Rahu and Ketu.

Ponder on and review recent investigations into the North and South Moon axis to go further in to the subtleties of this story if you will.

We uncover the codes inherent in the teaching stories through meditation upon them.

Through meditation we open doors within.

Merely reading and scoffing down and consuming a few starry tales without them touching the sides of awareness, is for example to be in the spell of Rahu.

The spell of Rahu leads to decay. Everything simply passes through the bodiless, consuming, yapping head of Rahu

Rahu is a big force in this realm called earth where we live.

Rahu is the consumer with nothing to give but empty promises.

Rahu is fast food and also eating fast.

Just by eating and moving slowly,
we delve into the secrets of Rahu and Ketu.
This is a deep Yog to folow and is worth doing
for the sake of the sacred heart
The Tantrics say: Yog Karoo.
It means: Do the Yog

In this Ritual, we will set the Head-Master in a place of dignity.

Those who wish to work with, and heal the father and child relationship are welcomed.

Those interested in healing the energies of the unresolved spirits of ancestral transference, inference and influence, are welcomed to this nights ritual.

Energies of the ancestors live as imprints that are passed down the line if left unresolved.

Serious questions now!

How are you yourself continuing and feeding the energies of your male line of ancestry?

Are they perhaps feeding on you?

To join the ritual,
click on the head
Hara Ring

Bhumeshvari Jayanti

September 17, 2021

Oh Bhumeshvari
Your body is the entire creation
To know you is to fade into infinity
One becomes a friend to all when you are close
Without you one sees fiends and foes on all sides
You reveal the secret of the shadow
For shadows exist everywhere in creation
Your body is the entire creation
the folds of your femininity are hidden in shadows
Those who would know you in depth
Must move into your shadows
The physical world is her body,
the Moon and Sun her breasts.

The Goddess Bhumeshvari is commonly called Bhuvaneshvari. She is the guardian of the manifest universe. The reflection of the spirit is reflected onto the body of Bhumeshvari as it comes into physical manifestation.

Many of Bhumeshvari’s hymns begin with the utterance of her body being described as the entire creation.

Bhumeshvari contains the word Bhumi,
Bhumi is the earth Godess and signifies the manifest physical world.
Bhumi in the Name of Bhumeshvari signifies her role as gatekeeper between the subtle and the physical realms.
Bhumeshvari is the ruling Queen of the 5 panchboot spirits.

The Panchbhoot are the 5 elements of the phenomenal world.

1) Bhumi (earth)
2) Jal (water)
3) vayu (air)
4) Agni (fire)
5) Space (ether)

These five elements are connected to different elemental spirits. The physical manifestation as the Panchbhoot spirits occurs by the subtle forces intersecting with the physical world.
Bhumeshvari is the one who stand at that intersection. She be the one who unfolds the spiritual energies into the manifest world.

The elemental spirits live as a collective in the particular element they are connected to.
By focusing and working on a particular element, the spirits of that element are expanded or reduced depending upon the focus.

The right balance of elemental energies ensures health and harmony in our physical lives, conversely, the imbalance of elemental spirits can manifest as all manner if disturbance in the physical aspects of our lives.

Tantra works on balancing the Panchabhoot elemental spirits. The different Mantras and Mudras effect the different Panchbhoot energies directly.

Pancha means 5 and Bhoot means spirit. The evocation of a particular element is a subtle science of working with the tools of Tantric science. Mantras and gestures are employed to this effect and are in turn enlivened by Bhaav.

Bhaav is the mood or attitude of aligning with a particular energy. Bhaav is the ever important quality that brings life to the structure.

By aligning to a particular quality and evoking that quality within oneself through a mixture of inner focus and technique, we generate that quality.

This is a description of Tantric ritual.

By evoking the quality from within ourselves, we can quite literally connect with it, first from within and then invoking it from without. When evocation and invocation become one, we have Bhumeshvari. She is the unification of the earthly and spiritual nature, as well as all the seemingly disparate elements of creation. This unification is Tantra and Bhumeshvari is the Goddess who gives birth to that unification.

Bhumeshwari is the Shakti that generates the 5 elements and brings them into harmony with each other.
Work with Bhumiveshvari is the work with the 5 elements.
Physically it is a grounding work of manifestation of our spiritual powers into the garments of matter.

Oh bless thee continuous stutter
Of the word being made into flesh

L. Cohen – The Window

The Sensual World

And how we’d wished to live in the sensual world
You don’t need words, just one kiss, then another
Stepping out of the page into the sensual world
Stepping out off the page into the sensual world

K. Bush – The Sensual World

The panchabhoot (5 elements) correspond to the Indriyas. The Indriyas are the (senses) that interact with the 5 elements. The receptive senses interact with the material world from outward in. The table below shows the relation to the Panchabhoot (element):

Ghraana (Smell) – Bhumi (Earth)
Rasana (Taste) – Jal (water)
Sparshana (Touch) – Vayu (Air)
Chakshu (Sight) – Tejas/Agni (Fire)
Shotra (Hearing) – Akash (Ether)

The Gyanindriyas are the five physical sense organs that receive information from the external world into the internal world. They are nose as in scent, the mouth as in taste, skin as in touch, the eyes as in vision, and the ears as in sound. The word ‘Gyan, in Gyanendriya, means knowledge. The five Gyanindriya’s literally receive knowledge from the external world.

The Karmnindriyas are the five expressions that arise within and are expressed outward. Karm the word Karmnindriyas means action.

The Karm (action) are executed through Karmnindriyas of the mouth – Vaak, as in sounding and speaking, the hands – Pani, as in holding and touching, through the legs and feet – Pada, as in walking, through the Yoni or Ling – Upashta, as in sexuality, and through the rectum – Payu, as in excreting.

Bhumeshvari is the Goddess who rules the Indriyas (senses) in all their faculties of reception and expression, along with their intersection with the Panchbhoot elements.

Bhumeshvari is the guardian of the earth.

Working with Bhumeshvari ritualistically along with her corresponding Mantras and Mudras is the work of physical harmony.

Bhumeshvari reveals where there is disharmony in the translation that transpires between the subtle and the physical.

Hrim is her sacred syllable, Ha Ra I M is the Mantra that brings matter and spirit together

The Process of Birthing, Living & Dying

In Bhumeshvari are inherent the three states that govern and imbue the physical world.

Rajas is action and tension,
Satva is rest and suspension and
Tamas is Death.

Known collectively as the 3 Gunas.
Bhumeshvari has 3 folds on her soft sensually curved waist.

The first fold of sensuous flesh emits a red glow (Rajas)

The second fold emits a golden hue (Satva)

The third fold of femmine flesh emits a dark blue light (Tamas)

Her beauty bewitches the spirits to take physical birth. It is even said that Shiva’s third eye came into being so that he could watch her beauty while meditating.

All three of these colours and qualities are needed in the right measure for there to be harmony. These 3 qualities and colours are balanced by Bhumeshvari.

An overemphasis of any one of these qualities disrupts the whole enterprise of physical and spiritual being. Tantrics work with these colours when approaching the Goddess Bhumeshvari

Bhumeshvari rules the functions of creation, preservation and dissolution. These three principles that are present in all things are known as the Trimurti. Expressed in the 3 deities of Brahma (creation), Vishnu (preservation) and Shiva (destruction).

Bhumeshvari rules these 3 principles and their intersection with the physical realm. She is the Mother of the 3 gods Brahma, Vishnu and Shiva. The Mother who gives physically tangible birth and manifests form to the 3 energies of creation, preservation and destruction.

Jaggadhattri is one of her names, it means: She who feeds the world from her breast. Bhumeshvari nourishes the creation as if it were a baby. When we connect to Bhumeshvari, we call on the nourishing power of the nursing Mother. She is the force that nourishes and ripens the stunted parts of our souls.

Bhumeshvari nourishes and raises the children inside us. She nourishes with the triple Goddess power of the Goddesses Saraswati, Lakshmi and Kali.

Note that these 3 Goddesses are the lovers of Brahma (creation), Vishnu (preservation) and Shiva (destruction) they are the Shakti behind the Shakta.

Triple Queen

Saraswati is the Lover of The creator Brahma, He is the seed and Saraswati is magnetically linked to him as the creative egg.

Lakshmi is the Lover of the preserver Vishnu, He is the seed and Lakshmi is magnetically linked to him as the creative egg.

Kali is the Lover of the destroyer Shiva, Shiva is the seed and Kali is magnetically linked to him as the creative egg.

Bhumeshvari is all three Goddesses forces rolled into one.

Bhumeshvari is the triple mother power of the Gunas. She it be who materialises the subtle forces of the 5 elements into the tangible physical realm.

She is the grounding force, the mediator between the celestial and the physical manifest world.

Hara Ring

If you would like to join her ritual



September 16, 2021

Vishaka Nakshatra

Unifying Opposites

The Moon will be in the Nakshatra (lunar house) known as Vishaka Nakshatra.

This lunar constellation is notable as it brings great potential for resolution of old karmic patterns.

Rebirth is sometimes needed to go on living.

The living dead patterns that are etched in the echoes of Karmic resonance sometimes require death.

Rebirth holds the hand of Death!

Vishaka is a profound agent for bringing healing change.

Vishaka Nakshatra indeed offers this, but at the same time, asks us to carefully and honestly look at the patterns we are repeating a d the things we are joining together.

The outer resonance of our lives events start as a sound in our psychic world and then becomes the medley which rules the rhythm of our being.

This coming Moon brings with it the blessing.

A blessed time for looking at inner beliefs and programs that keep a living death in place of rebirth.

The blessing and the curse ride together, both are looked at in the Tantric perspective, for the poison is part of the medicine.

Drinking the medicine without honouring and acknowledging the power of poison is tantamount to blindness.

The gods who dwell on the star constellation of Vishaka are thirsty indeed. They are full of the wish for Soma and the experience of fulfilling desire.

Desire is sacred if it is channeled, but desire can lead to ruin if it is unfocussed.

Yogic practices could actually be defied as the art of channeling desire.

Desire might have been bastardized as the culprit for leading us into delusions.. and that might be the case. But the suppression of desire and the attempt to kill it leads to war. Desire comes from the goddess, it is too powerful-a-force to kill.

Acknowledging the sacredness of desire is the lesson of Vishaka Nakshatra.

Focused desire is Tantra and Tantra is focused desire.

The Karmic Mirror

It is not easy to see reality when we ourselves are reflected in the mirror of distorted desire in which we watch the world. To turn around and break the curse of the mirror, and see a reality without our Karmic visions and smears… is a task most Tantric.

Tantra is a most practical subject that can help resolve the Karmic footprints that we might be stepping into.

Sometimes we find we are stepping back into painful cycles that we thought we had long since outgrown. We sometimes find ourselves back in inner situations we thought were long past.

Maybe we thought we would never indulge them back to life again, but insidiously, like unseen shadows, erecting themselves back to life, they might have come upon us.

Such experiences indeed may feel like times to lament, but equally they are times of celebration.

If one can acknowledge the psychic knots that have bound us back to the footprints of old Karma, then healing happens.

Vishaka is Shakti, the divine feminine power principle.

Shakti who is the very energy of life is able to ‘shock us awake’ from the most stagnant, comfortable and familiar Karmic dreams.

This ‘Shakti shock’ is the healing jolt of transformation.

It may be painful and unwanted to wake up with a shock from the poison of past pacts.

But more slowly painful it be to be dictated to by the reflections of unresolved Karma.

Vishaka heralds in a time for healing practices of forgiving self, forgiving other, and the one that we are together.

May there be success in the healing pursuit!

Like a dentist who takes out the rotten tooth with a painful jolt,

sometimes it must be so.

May the Mother that is Shakti, hold our trembling hand in such instances.

The only teaching in Tantra is to ‘Have courage’

May the profound agent of change who goes by the name of Vishaka

bring us to the cave where we may receive the electric Shakti Shock, right into our dead Karmic dreams, so we may wake alive in Love.

Arching desire

Another name for this star constellation is Radha- Radha is the spacious beauty of Tantric lore. This is a sister constellation of the following Constellation of Anuradha.

Anuradha literally means that which follows Radha.

Vishaka Shares the symbol of an archway with Anuradha.

The archway is very significant in understanding the energy of Vishaka Nakshatra.

Let us ask ourselves:

What is an archway?

Is it not an attempt between two lovers to join?

How many archways have fallen in our lives?

Radha is the great Ghori. Ghori implies the bright, clear and spacious Moon woman.

She is the lover of Krishna.

Krishna is the dark night sky which nothing can penetrate. Only Radha can meet the darkness of the night sky of Krishna with her Moonlit rays of love.

Krishna is the dark night sky and Radha is the bright Moon. The old tales tell of Krishna asking his mother ‘Radha kyu gori mai kyu kala,

It means ‘why am I black and Radha so bright’. This encapsulates the deep meaning of their opposites and births. Though these words come from the sacred wisdom of Yogic lore, they were put into a very beautiful song in the 1978 movie entitled Satyam Shivam Sundaram. Here is a link to the song:

Vishaka is the only Nakshatra that has both an exulted planet and a debilitated planet. The black planet Saturn is exulted, and the silver Moon is debilitated in Vishaka Nakshatra. Clearly the extremes at play again.

The silver Radha’s nights and days are spent in the longing for union with the dark black mystery of Krishna. She is Half of arch that longs for the other half.

Two halves make an arch for which Love can walk on through.

We also see that arches are prominent features in rites of passage. The wedding arch is a most poignant example.

Radha is a word that also signifies the soul.

The soul carries the impulse of unification!

In considering this potent phrase, we are brought to look at the colour of the soul.

We might have inherited the notion that the soul is a dead thing, something pure, exulted, detached and unfeeling like a cold dead corpse.

Take a moment to consider and ponder upon What the soul is ?

Ponder upon what your notion of the soul is?

Our notion of soul will determine our whole approach to spirituality and Yogic practice.

If our notion of the soul is something that is cold, aloof and detached, then union, magic and fascination will be replaced by depression and resignation.

Vishaka Nakshatra is an energy of Unification.

Rain & Fire

When we look at the ruling deity that lives on this constellation then we get an idea of its meaning in terms of unification.

Indragni is the god of this constellation. Indragni is a mysterious and little known deity, even scriptural references are scarce and rare. Much speculation from astrologers both modern and ancient has ensued as a result of so little availible info.

Indagni is the fusion of Indra the god of storm and Rain, and Agni the god of fire.

The fusion of these two deities and principles becomes clear when we look at the notion of the archway that is the joining of two halves to create a structure.

The idea of fusion is also apparent when we consider the tree that is assigned to Vishaka Nakshatra.

Nagkesaar is the tree that is connected to Vishnu Nakshatra. In Yogic medicine this tree is used as a remedy for treating conditions of fire and water imbalance.

Now. We can clearly see that this Nakshatra is the union of the opposites of these two elements.

Agni is the god of fire and fire feeds of air. Indra is the storm god of rain and rain feeds the earth.

When Agni and Indra are balanced in our system then we have the marriage of the four basic elements, from this marriage then, the 5th element which is called Akash starts to awaken us to the subtle world.

What is the balance of Agni and Indra exactly?

Fire ( Agni) rises and feeds upon air. This is desire, hope, reaching.

Water (Indra) descends and sinks into earth and nourishes it.

Fire is action and enthusiasm – this is Rajas.

Water descends and Sinks – this is Tamas.

The balance of Fire and Water creates Satva, the ekement that bridges the two worlds of Fire and Water.

When we are caught between the dance of hope and resignation, then we are unbalanced between the swing of opposites. In such a state of swing, there is no subtlety, in such a state Akash is diminished.

Akash is the subtle etheric spiritual element. hope and resignation are the two poles of drama that consume the subtle element of Akash.

If we have a balance between fire and water, then we develop a relation to air and earth. from which ensues birth of Akash.

Akash is the opening of the psychic door to the spirit world.

Akash opens the vision to that which lives beneath the surface layers of reality.

The Tiger

The animal of Vishaka Nakshatra is the Tiger. The Tiger skin is the Yogic blanket of Shiva. The Goddess Durga who is the Mother of everything, rides on the Tiger, Rahu rides on the Tiger and the list of Yogic references to the Tiger could go on.

The Tiger is a creature of elemental wisdom. In the Tiger we see the mastery of the elements. Like fire that creeps slowly and steadily towards its prey, the Tiger contains the fiery power and just like fire, it can snap into immediate action in a millisecond and envelop its prey.

The Tiger is profoundly fond of earthly rest and spends more than half its time in deep rest and sinking . A Tiger has the power of air and can project a roar that can be heard for many miles. The Tiger is a powerful swimmer and has command of water, being able to swim for miles at a time.

The balance and mastery of all these 4 elements, makes the Tiger the creature of the most subtle 5th element of Akash.

Since time immemorial, Yogis have lived in jungles and learned from Tigers which can transport the secrets of the etheric Akash element as no other creature on earth.

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September 10, 2021

Shatabishakh Nakshatra


Shatabishakh Nakshatra is symbolised by a circle with a dark centre. This circle is the circle of the Tantric Ritual.

when we look into the origins of spiritual practices from all over the world, we see that the circle is a central principle from which they all came. The circle is a wheel that links diverse forces and contains a ritualistic focus within itself.

The centripetal force of the ritual circle is created by those who join in the circle. This force moves inwards towards the space in the center of the circle.

The contained space within the circle becomes a vortex of energy that echoes the received resonance of energy and sends it out as centrifugal force.

The space within the circle is the mystery at the center of the nucleus. The eye of the storm is a mystery to those spinning in the tornadoes of existence.

The central place within the circle is the mystery. The mystery is the unknown and unseen place. The unseen place is the dark mystery, that just like the colour black, contains all shades within it.

The center within the circle becomes the altar that absorbs, contains and births all diversities and encases, or rather encircles them.


The god that lives on the star constellation of Shatabishakh is Varuna. Varuna is the god of the deep dark. Varuna rules the night and the deep dark seas.

Varuna rides upon Makara the crocodile. The crocodile is the animal associated with the water ruled sexual Chakra. Makara is also the name given by Yogins to the zodiacal sign of Capricorn. The crocodile of Varuna implies the deep Saturnian energy that is required to protect the creative feminine essence of the watery Shakti Chakra.

The Shakti Chakra, as illustrated below, shows the crocodile and the six petals of the lotus. Six is the number of Shukra (Venus) Venus rules sensuality and the sexual function, Shukra literally means sexual juice.

Varuna dwells in the West. The sun setting in the West is an indicator of Varuna coming into his power as the sun sets and the night forces take over.

Varuna has a best friend named Mitra, who is his opposite. Mitra rules the daytime where Varuna rules the night.

Varuna and Mitra are bound together in sacred oath of friendship. Their friendship is so deep that it keeps the universe in equilibrium.

Varuna translates as the one who covers and conceals. He covers the sun as it sets and brings darkness by his concealing power of nightfall.

Mitra on the other hand, causes the sun to rise. Mitra uncovers and reveals as the root ‘Mi’ in his name implies, Mitra is said to never close his eyes.

Mitra is the deity who assists the activating of the solar forces, and Varuna assists in activating the lunar forces.

These two opposite forces are tied together in deepest friendship as they keep the cosmological order of Rtta. Rtta is the rhythmical, regulating principle of cosmological order.

Varuna is the deity of the depths and the waters that cover the earth and move with the dance of the Moon. Varuna rules the creatures of the deep subterranean watery underworlds. Much of the depth of sea is a yet unexplored territory for most humans. Varuna is the initiator who reveals the depths.

Out of interest, we find that Shatabishakh Nakshatra is within the zodiacal sign of Aquarius, Aquarius being the water bearer of of Western astrology bears a fluid relation to the watery Varuna. In the Yogic language, this is the sign called Kumbh, this means the pot that pours the fluid of healing upon all beings.


The ruling planet of Shatabishakh is none other than Rahu, the solar eclipsing North node of Moon.

Rahu is the head without a body. Rahu has no fear because nothing can poison him, he can consume whatever he wishes and it simply passes through him.

In Shatabishakh, Rahu brings the power and courage to drink anything, both medicine and poison.

Though Rahu is often considered a negative force, it must be seen that he be a powerhouse of force. Rahu magnifies whatever he touches and the energy of wherever he is gets magnified and multiplied. Just like Shatabishakh Nakshatra, Rahu has the power to cover the sun.

His endless appetite calls in more and more. Rahu squeezes out the very last drop by his will for consumption, even if there is seemingly nothing there, Rahu will squeeze out that which can’t be seen.

This force can be creative or destructive depending on how it is applied and approached.


Rahu is connected to the master healer that is the Crow. The Crow can take anything and transform it into nourishment. Crows are often connected with and fed in the rituals of the potent dark shadow casting planets and deities such as Saturn, Rahu and Ketu.

A common remedy to balance the forces of Rahu, Saturn and Ketu is to feed Crows and pay attention to their teachings.

The Crow is not afraid to get its beak dirty, the Crow has no fear. This is a quality needed to reach the depths of healing.

When we resist, block and fear things, we end up denying our power is we turn away.

The Crow is the great healing spirit on account of its lack of fear. The crow will ever turn away, and will eat everything. Crow puts its beak where others fear to peck.


Let us now consider the meaning of the name Shatabishakh and get a a further insight of the energy that it transports.

The word Shatabishakh is an amalgamation of two words. Shata means a hundred, or hundreds, and Bishakh means healer. This is the constellation of healing power, as well as the remedies and tools of effecting healing.

This constellation is the hundred healers or the hundredfold healer. The hundred healers of Shatabishakh can just as well bring on a hundred ills, as they can a hundred healings. This Nakshatra can trigger the underworld shadows of the deep sedimentary emotional waters and cause them to surface.

Varuna is a good who holds the noose in his hand and captures the parts of us that escape vision. Varuna has the ability to see in the dark and encircle that which is out of sight. He has the power to teach us the mysteries of the sacred night forces by revealing the dark that lives within his darker skies.

When we come to healing, it is not always a sweet and joyful affair. The dental surgeon might lead to healthy teeth, but the iron implements might fist scour upon flesh and nerve!

Now let us conclude by considering that Varuna is described as the master healer who has hundreds of remedies at his disposal.

Tantra is healing, and healing is Tantra.

Hara Ring

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Rohini & Kali

August 28, 2021

The Star of Fertility

On Monday the 30th of August we will undertake the ritual of the dark mother Kali Ma.

Kali Ma Jayanti is the annual Moon of Kali Ma that falls upon tomorrow’s half descending Moon. The Moon will be in the lunar house of Rohini Nakshatra.

Rohini is a blood red sensual star that is found in the eye of Vrishaba (Taurus).

Rohini is the most fertile of all the lunar houses and when worked with by way of invocation, she arouses blood red sensuality and fertility of both body and soul. Rohini brings healing to the rivers of the sexual water ruled Shakti Chakra.

Rohini is the queen of ebb and flow of the tides. She empowers the womb and brings virility and fertility to the sacred temple of creation.

Red & Black

Kali Ma is the consumer of Blood, and like Rohini, is also a woman most red. Kali means the feminine black that consumes time. She is the dark womb and her colours are red and black.

Rohini Nakshatra is ruled by the Moon. She is the favorite and most precious beloved of all the Lunar houses to which the Moon is wed.

Rohini is the Pearl of great price and the lunar constellation where the Moon is most at home. The pearl is a precious gem that is connected to Rohini Nakshatra.

Consider that a pearl is a precious gem that is made of the meeting of opposites.

The pearl is formed from the tears of an oyster when it gets a painfully iritating grain of sand in its innermost cavern.

From the suffering of the oyster is born a much sought after thing of beauty. The beautiful pearl is the oysters attempt to protect itself from pain.

In the end, the pearl leads to the oysters capture and fate.

By meditating upon the journey of the oyster, we acquaint ourselves with the hidden teachings of Rohini. Meditation upon the oyster opens us up to the forces of fertility.

Without the pain
there will be no pearl.
To mask and deny pain is to
cast the pearl of great price away.

The Pearl of Great Price

It was a long time ago when a young wanderer stumbled upon a river that eternally whispered her secrets.
He had wandered far, and felt more lost and miserable than he had ever been.
He sat down by the river and wept.

The river saw his wounded heart, and out of compassion turned herself into a beautiful Goddess. She rested her warm hand upon his humped back and spoke to him in a soft voice, she asked.

”What is wrong my dear, and why do you weep so terribly?”
”I have lost my way” replied the young man,
‘And what is it you are looking for” she continued
The young man searched his mind but could not find an answer.
The water Goddess said,
”I have lived here for an eternity and in that time no one has reached this river”
The young man then looked at the Goddess for the first time and noticed that something glowed close to her heart. ”What is that you hold to your heart” he asked.
”It is the Pearl of Great Price” she said in a low voice
”Yes!” Replied the young man as if waking from a dream,
”That is what i have been looking for”
He continued…
”What is the Pearl of Great Price”
”It is the soul” replied the Goddess
”But what is the price of the pearl”
he hesitatantly asked,
”The price is Love” she answered
He paused and then asked,
”Does that mean by love I may obtain the pearl”
”Exaxtly” replied the Goddess to the young man
and she vanished into the water from whence she came

Symbols of Rohini Nakshatra

The symbols of Rohini Nakshatra are very interesting and worth considering if we are to get an understanding and insight into the red woman Rohini.

While reading into these symbols, let us remember that the word Rohini comes from the root word Rohana. Rohana implies fertility and growth.

The Bull

There is firstly the bull. The bull of virility is implied – male desire and reproductive desire are enhanced by evoking the Rohana Shakti of Rohini Nakshatra. Rohini Nakshatra is in the constellation of Taurus, which further is signified by the symbol of the bull.

The Tree

The symbol of the Banyan tree is also given to Rohini Nakshatra. The Banyan tree is a tree that ever keeps growing and is therefore a perfect symbol of for the fertility that Rohini transports.

The Banyan tree is considered a holy tree to the Yogins and is to be found growing in places of power and temples in India.

The Roots of the Banyan tree grow from above downwardly, so it presents a paradox to the usual tree. In the Bhagavad Gita, Krishna mentions that the Banyan tree is a reversal amongst the trees that reflects the spiritual world within. The paradox that it presents is a subject to meditate and ponder upon.

Ponder upon it…

The Red Fertile Woman

Rohini is the red Star in the eye of the Taurian Bull. It is the star known as Aldebaran.

The word Rohini means fertility and growth, but is also translatable as the red woman, it implies the fertile menstruation process and reproduction. The fertility of Rohini is the red blood of Life.

Consider all the connotations of the colour red that you can, from passion to heat, from blood to birth.

Kali Ma & Rohini

In Kali Ma we see the symbol of blood in a pronounced way. Kali Ma is the Mother of the womb energy. She is the dark cavern of the womb.
The creativity of Kali Ma can be seen as being the opposite of Rohini.
We are talking about the destructive side of creativity here!
Kali Ma is the blood of death. Although life and death appear to stand at opposite poles, they are inseparably interwoven with each other.
The process of destruction leads to birth, as birth leads to destruction. We can also say that birth follows destruction.
The Tantrics refer to the feminine womb as Kali Mandir – this translates as the Temple of the Dark Mother.
The womb clothes the spirit In flesh.
It is creative and life giving, yet the birth into form and manifestation that the womb brings, is the death of the spirit from its previous energetic state.
How many wombs can you think of that usher something into manifestation? A pen for instance, could be seen as a womb for birthing a book.
When death approaches, we again enter birth in the cosmic womb, as we part from form.
In this way, birth and death are really the same thing. We might say that they do not follow one after the other, but rather, are ever moving towards each other.
Rohini is the side of blood to create, and Kali Ma is the side of blood to destroy.
Looking from an absolute vantage point… When creation and destruction are seen as forces that magnetise each other, then Kali Ma and Rohini can be seen as one.
But when we envision Kali Ma and Rohini from the perspective of dualistic opposites, they seem Poles apart.
There is a teaching story that presents this Paradox of creation and destruction. It is a story that centralises around blood.

Bloody Tales of the Tantric Goddess

The stories of Kali Ma tell of the fate of the near invincible Asura Raktbija.
Raktbija epitomises the self perpetuating destructive urge.
He would not be defeated and would simply recreate further forms of himself wherever a drop if his blood would spill.
Rakt, in his name means blood, and Bija means Seed.
So literally, his name means, he who’s every drop of blood is a seed.
By this power to reproduce himself, he seemed invincible.
In battle, he only grew more and more powerful and numerous.
Only Kali Ma had the ferocity to consume his endless duplicates and defeat him by drinking every drop of his blood until there was nothing left of him.
Kali Ma is the consuming force that can never be escaped or sidestepped.
As the consumer of the seed and blood Asura Raktbija, she is called Rakteshvari.
Her infamous bloodlust knows no limits.
The story goes on to tell that when Raktbija was consumed by Kali Ma, she became unstoppable and continued to consume life until Shiva intervened as a way to stop the all consuming raging bloodlust that threatened to consume everything including him.
The solution was to place an innocent child before her.
Kali Ma’s motherly instincts were aroused and in an instant she became the nurturing mother of womb power.
This fantastical tale is full of codes. When we meditate upon this story and glimpse behind the ‘outer story’ and into the deeper meanings of the ‘inner story’, we see into the energies of creation and destruction and how they meet.

The Head in her Hand

Kali Ma holds a head in her hand. This is a significant symbol as we will soon see.

As we have already seen, Kali is Rohini in her Destructive creative aspect. Kali cuts the head off and stops the familiar motion of the mind.

Rahu is the North node of the Moon that eclipses the sun. Kali Ma carries the power of Rahu in her Left hand.

Let us pause and Look at opposites for a moment:

Rahu is the separated head of Ketu the South lunar node.

Though they are separate, they can’t really be separated. They are always 180 degrees from each other as mirror opposites. Rahu is the automatic response of habitual consuming consiousness that does not pause to contemplate deeper layers of being. Rahu simply feast eternally and hungrily as everything simply passses through him with no body to retain any of it. Rahu is never satisfied.

That is what Kali Ma holds. She at once has the power of Rahu – (As the story of Raktbija demonstrates) – and she also has the power over Rahu.

Kali Ma is the dark that envelops and eclipses the eclipser of the sun that Rahu is.

Kali Ma is a Darker shade of solar eclipse!

Ponder on this…

Now, astrologically speaking, Rahu is exulted in Rohini Nakshatra. This detail gives away who whole story and decodes the code.

The Nakshatra of Rohini is the dwelling Place of the Creator Brahma. It makes sense that the most fertile creative constellation should house the creator! Kali Ma is the destructive creatress – she can be seen as the opposite to Brahma.

Ponder on this…

The Shakti behind the Shakta

In conclusion, let us consider that in peering into the mysteries of the Dark Mother Kali Ma, we have to bring the poles of Destruction and Creation together if our vision is to go deeper than surface layers.

Tantric practices reunite these perhaps divorced principles. The principles of creation and destruction are the two universal categories into which all things fall.

The deeper mystery is that the meeting of these principles of destruction and creation, creates a marriage where there is only one category for everything to fall into. This category is the wide open mouth of Kali Ma, the creative/destructive tunnel of eternity.

This is the singular Vision. This is the Eye of Shiva that destroys duality.

Kali Ma is the Shakti behind the Shakta that is Shiva. Shiva is the destroyer of time, and Kali Ma is the destroyer of the destroyer of time.

Hara Ring

To join the ritual,


Kali Ma

August 26, 2021

Kali Ma

The Dark Mother

“Oh Mother of the Dark Womb,
from which all things come,
to which all things return.
Hidden by a disk of darkness
many may reject you;
many may refuse your sacred fear.
Those who gaze away from your dark face
lose the touch of the feminine.
Those who look into the dark
find you there.
To you we bow.”

The wild woman of sensuality, straddling the beast of the creative force and pouring with the pleasures and wisdom of the earth.

A mysterious mistress of the hearth, of story telling, of herbs and healing.

A queen of the night forces, who equally is empress of green fruitful meadows where flowers abound.

Pouring blood of maidenhood on dry and ancient well.

She be a home for toad, bat and crow.

She welcomes the night forces.

Find her down avenues that lay overgrown, unexplored and feared.

She is the hag that’s thrown to the outskirts, beyond the borders where the sensible would dare to venture. Some call her Kali Ma.

The life is in the Blood

Kali is Mother Nature, the dark goddess who consumes life.

She shows us where and how we give our power into the field of life.

She is the mirror that reflects life back to us.

Her mirror shows us how we consume life, and in turn, how life in consumes us.

Kali Ma is the blood. It has been said that the life is in the blood. Kali Ma is the great Mother Nature. She is the ruthless force of nature that drinks blood. She is at once the blood of creation, and she who drinks it.

Kali Ma is the stream of nature and mother to the innocent.

The innocent are those who trust in the wisdom and way of nature. There may be some things in our lives that we can’t trust, but nature never lies. She may be ruthless and destructive in her bloody laws, but she is ever honest.

The Ritual of Kali Ma

Welcome the age-old ritual that calls upon the Goddess Kali Ma. The Tantrics regard Kali Ma as mother nature herself.

She is the dark womb, the Maha Yogini and the queen of witches.

Kali Ma represents the origin of life and contains the unstoppable power of creation and destruction.

Through the ritual practices of Kali Ma, the Yogin opens the lid that rests upon primal femininity.

Through Tantric ritual the Yogin attempts to open a ceremonious field of magic, creative chaos and birth.

In this ritual, under Kali Ma’s guidance, we will uncover the witch’s cauldron that bubbles within our lower womb of creation and destruction.

Lifting the lid, we shall first stir, and then drink from the deep primal well of Kali Ma.

Savoring the essence that has been brewing for uncounted ages in the womb-pot of power. In that pot, we might meet suppressed emotions and other aspects of our character that we might not have dared to taste thus far.

Divorcing the divine father from the earthly mother, results in the suppression of the feminine aspects of our personality.

We might even ask the question – What does feminine even mean?

On this ritual night, we will work with ancient Tantric practices, with the focus on making contact with, and awakening the power that lays in wait for us in the Womb of Power.

Shaktistaan is the old Yogic name given to the creative center in both women and men. This word literally translates as the Land of the Goddess…

It is to this land we voyage, for it is in this land that Kali Ma dwells.

The Consumer

Kali Ma is all-consuming-time, or rather, she is the consumer of the all-consuming-time. When she is awoken and approached, she starts to consume the line of time.
The closer we move to Kali Ma, the more of the line of our time she consumes.

The closer we move to Kali Ma, the more frightening she become, as the familiar line of time is uprooted and the sense of lostness comes upon us.
Lostness is a spiritual condition.
Lostness is the grey shaded area of uncertainty and fear, cultivating this lostness is a requirement for coming close to Kali Ma.

We might be in the habit of avoiding the feeling of lostness by safely securing ourselves into areas of certainty and conviction. A degree of certainty is certainly required to exist within the system that we live within.
But Kali Ma reminds us that we live in a greater spiritual system where certainty becomes a doorway that stands between her and us.
Spiritual security is a foreign concept in the land of Kali.
In her land, there are no saving sentiments, no guiding testaments, and no certain laws or holy moral codes to resign ourselves to.

The Lost Child and the Mother

While we might believe we should be busy solidifying and securing inner spiritual convictions and beliefs, Kali ma chews up and spits out such psychic sentiments and thought forms. All secure certainties to hold upon are the killers of the child that can approach her.
Only the lost child can approach Kali Ma.
The lost child is an innocent spirit that is modest and humble enough to not put its stamp of approval upon reality.
We could say that to approach Kali Ma, we have to learn to resign psychic certainty.
Then again, we could say that to approach Kali Ma, we need to learn to embrace lostness within the infinity of spiritual being. Or perhaps we might best of all say, that we must simply remember what we once knew.
There was once a time that we lived in the realm of Kali Ma. There was once a time that certainly of spirit was our least concern.
Perhaps as we developed into embracing the certainties that are required to function within the system that we live within, we slowly took a certain grip on the spiritual world too?

Going to School

If we do not get the bus to our school at 8:30 for a 30-minute journey, we will not arrive at 9:00 o clock, and therefore risk punishment or even humiliation.

It is quite certain that if the school-child renounces the certainty of the alarm-clock and wanders freely to the bus stop at 10:00 or 11:00 o clock, that (s)he will not arrive at 9:00 o clock.

When this clockwork-consciousness takes a grip on our spiritual life and fills our inner world with spiritual codes and structures, then we step out of the free wandering child of the spiritual world.
We might even take pride that we have prevailed over the inner uncertainty of the spirit.
We might think we have learned our lessons in the school of life when we have prevailed over the wilderness of the spirit and replaced uncertainty with certain timetables and certificates of accomplishment.
For the Tantric, to lose the infinity of spiritual uncertainty and lostness, is a failure in the school of life.
To decode the structures of the inner life and tear up clock-work landscapes, along with the bus routes and school buildings of the spirit, is for the Tantric, the path of learning.

The bus will take its familiar route daily, havoc may even ensue if it is late according to the structures of the system that we live within.

In the spiritual life, there are no roads and routes, there is no bus-stop, there is no school-building and the bus never leaves, because it never comes!

It is possible to navigate within the structures of the system in which we live, while at the same time traveling through the inner uncertainty of the realms of Kali Ma.
These two realms are not dependent on one another.
There is a great secret and paradox in this statement.
Ponder on this.

The left hand Tantric, honours the rhythms of the heart that can’t be confined to a structure.
When the heart is confined to a structure, it is the end of creativity in every sense.

Confining the heart and it’s rhythms of feeling may pass as success and accomplishment within the system in which we live, but to say it again, it is the end of creativity in every sense.

The spirit is creative and needs not learn how to create, nor learn what to create, for the spirit simply is creative. Returning to primordial creativity is the step towards Kali Ma.

Cultivating Lostness

The Tantrics cultivate the inner lostness, the very nature of Tantric practices puts us in positions of uncertainty and vulnerability.
There is no right or wrong way to approach an inner Tantric Mudra for instance, there is simply just approaching it.
Take the example of a backbend in the branch of Tantric Asan.
The backbend is a dropping into the unknown. The backbend is the looking into the unfamiliar.
The back bend softens with time if we cultivate the feeling for spiritual lostness. This is why this is such a central movement in Tantra.

Our inner psychic restraints manifest as rigidities and holding in the backbend.
The ability to fall and breath into the unknown of the backbend, reveals the state of our psychic landscape.
Sometimes we might push and struggle our way into the bend, hoping for more depth. Sometimes we might stay reserved and not dare to approach the unknown, and therefore just play it safe.
This playing it safe, is the deep spiritual un-safety for the Tantric.
By playing it safe, we move into rigidity and away from the innocence of infinity.
All the sensations and inner realities that the backbend arouses in us are a subject of study, that teach us far more than the teaching of the correct position.
The backbend is much more than a bodily motion. It is an inner attitude to enter ‘lostly’ into the great mystery that can never be known.
Some call it the unknown, the Tantrics call it the unknowable.

Karmic Cycles

Kali Ma is the goddess who licks at our Karmic cycles. A lick seems harmless enough, but when it’s repeated cyclically and continually it reveals everything. A drop of water repeated repetitiously in sequence, has the power to erode a stone.
The cyclic licks of Kali Ma can erode the encasement that surrounds the sacred heart.
On the path of Kali Ma we face fear. By facing fear we begin to move towards Kali Ma and thus towards the healing of Karmic cycles.
Our Karmic cycles live beneath the covering of fear.
When we remove ourselves from fear, we close ourselves off from facing our Karmic patterns and programs… this is the very definition of Tamas.
The sense of spiritual lostness that comes from facing fear, turns us into the child that Kali Ma embraces.
Fear is the encasement upon the unknown and unknowable. Fear is the uncertainty of spirit that opens the door to infinite potential.
Kali Ma is the one who stands beyond and behind the door that is sealed by spiritual certainty.

Our Reality

What has been giving birth to our reality?
Who is the mother that is giving birth to our reality?

Approaching Kali Ma is to give up one mother for another.

Kali Ma is the dark mother, she is cited as being the destroyer of time.
What does this mean in a practical sense?

When we start to look at the past it is sometimes not easy to accept, and we don’t always have to.
The Tantric work that goes into the inner structures of the soul, comes upon our ancestral patterns.
Kali Ma, being the mother behind all mothers, requires up to face all the mothers we have known, this includes our ancestry.
Working with ancestral patterns can create a deep-rooted energetic shift in us that is not always visible to the mind.
The mind can be slow to grasp the lessons that the spirit learns… and the mind does not always immediately follow. The mind can often come later in the maturity of looking upon what the spirit sees…

Forgiving the Mother

There can be reasons that the mind does not accept certain things, and it does not have to.
By not accepting certain things, we can be geared towards our destiny.
By prematurely forcing oneself to accept what is unacceptable in the name of healing, we can cut away important lessons and leave ourselves stunted.

Tantric work with forgiveness is a heavy affair. To even start approaching forgiveness is a profound thing.

The spiritual path begins and ends with forgiveness, but it can’t always be a fast process.
Tantric work with the ancestral realms, can show us the structures in ourselves that hold onto certain things. The ‘things’ that we hold onto are not the real issue at hand.
The issue of addressing the structures in us that clutch onto ‘things’ is what Tantric ancestral ritual primarily addresses.

The ‘things’ are secondary and have a tendency to resolve themselves when the structures of our psychic self are looked at and worked with.
Ancestral work becomes primary in the path of healing. Yogins have given ancestral work a central place of importance in their spiritual practices.

The lines of influence of our ancestry can make us do many things. It is the ‘ghost in the machine’ that makes us do things the way that we do.
These motions are sometimes invisible and taken to be ourselves.
But sometimes what is happening in our heart and mind is far from who we really are.
Tantrics investigate within themselves, where the familial spirits move. The reality of the psychic world and its structures is delved into in ritualised focus on the Yogic path.
It is mainly a practically applied subject with Inner Mudra and the evocation of the forces that move and dance us from behind the scenes.
Even further behind the forces that move us from behind the scenes is Kali Ma.
She is behind that which is behind.

She Tramples on Time

In the looking into of our inner patterns, we might discover a self that’s not bound up in those patterns.
We sometimes start to strip ourselves of the ornaments and clothing of the past, and see that we are sitting between the two choices of our ancestral lines.
Tantrics have often suspended all activity to discover the motivation of that which really moves us.
Ritual focus is an austere period of suspension. Such times of meditation and suspension are important if we are to look behind the motions of the roles played out on the theatre of life.

The ritual is a way of stepping out of habitual and often favorable motion. In that suspension we discover something in between.

Kali is the destruction of time, she tramples on time, she is time and it’s destruction, ‘and at the same time’ she is beyond, behind and between time and destruction.
She destroys the relativity and illusion of motion.
To reach her is to reach inside.

If you would like to join the circle,  


Hara Ring

Ashwini Nakshatra

August 20, 2021

Healing Horses
Ashwini Nakshatra

The Ashwini Kumar twins are the two human bodied and horse headed gods of all healing arts.
They are the twin stars in the constellation of Aries. The first of the constellations.
The head symbolism plays out strongly when we look at this constellation and it’s related stories. We see that the constellation of Aries rules the head and relates to the themes of Heads and head chopping that we will soon encounter if we read on.
Of note is also that the Sun is the father of the Ashwini Kumar twins.
Of note because the sun is exulted in Aries.

Let us firstly go to Greek myth as an introduction to the lessons of Ashwini Nakshatra.

The Greek mythology of the 12 labours of Hercules is an archetypal journey of the soul through the 12 zodiacal houses.
The first labour of Hercules is the lesson of Aries.
Hercules is possessed of legendary strength and with his strength comes a pride and satisfaction in himself and his abilities.
Hercules tended to overestimate himself to the point of blindness of others, as we will see in the the first labour, where the gods sent Hercules to go and tame the flesh eating mares.
Hercules easily does it with one arm.
Satisfied and full of pride with his easy achievement, Hercules goes off to celebrate his victory, handling the wild flesh eating horses to his best friend.
Hercules went off in search of grandeur and merriment.
Of course, his friend had not the strength of Hercules.
Hercules’ strength was his weakness and lack of clear perspective.
Hercules failed miserably at the very first labour and had to abjectly lament the loss of his best friend by a hideously violent death. All the blame was on Hercules and his blindness of reality.

We see the horse theme played out clearly here. We see the destructive side of horse power also, that is, power without grace and heart.
The whole constellation of the energies of the first labor of Hercules point to violence and the destructive side of horse power.
Without intelligence, there be no grace.
Without grace, there is only bravado and violence against the sacred heart.
Blindness and its cure is a pivotal theme of Ashwini Nakshatra, as we shall discover upon further reading.

Vision of Horse

The Ashwini Kumar twins are the healing horse gods of the Yogins. These celestial healers actually have the cure to blindness. They are the Celestial horses who open the eyes of the heart by mixing grace with power.
Just like Hercules in the story above who got the lesson of Ashwini Nakshatra, when his eyes were opened after seeing the result of the arrogance and pride that lost him his best friend.

There are many stories that tell of how the Ashwini Kumar Twins cured blindness. In the Mahabharat for example, the following story is to be found, slight variants of the same story are scattered though the scriptures.

This is a story about the Star constellation of Ashwini Nakshatra:

Once there was a princess named Sukanya who married and cared for the ancient Yogi hermit named Cyavan who lived deep in the woods absorbed in Samadhi.

Cyavan meditated with his eyes blazing forward in the technique known as Tratak. (this will be part of the ritual meditation) Tratak gives one second sight.

After sitting for long years, the old Yogis body was covered in fallen leaves and ants, only his blazing eyes were visible in their burning focus.
The princess Sukanya was wandering in the woods and upon seeing two shining stars, she got curious, and with a stick she found on the ground. She proceeded to prick at the stars to see what they were.
Being the eyes of the Yogi, of course she unwittingly caused his blindness.
She agreed to marry and care for the now blind old Yogi as a way to recompense her action.

The Ashwini twins happened to be in the woods collecting healing herbs, when they saw the beautiful princess. They wanted to get on with some horseplay, but Sukanya was ever faithful and refused them angrily.
The twins are the very pictures of beauty. They are said to radiate health and beauty, and they did not ever experience being refused before.
They proposed that they would cure the blind old Yogi and make him young again, but only on the condition that she should identify him after his transformation, but if she chose wrongly, then she would have to get leave with them.

She wanted her old blind husband to regain vision and health, and so both she and the old Yogi agreed to the game.
The Horsey healing boys carried the now old decrepit and blind Yogi into the lake after giving him a mixture of some healing herbs. In the waters they did their healing magic. And when they emerged from the water, they all dazzled and glowed with startling radiance.

Sukanya couldn’t tell the difference between them, as all three were just radiating pure power. She felt into her heart and selected one of the three with the prayer that she would select her husband.
She of course selected her husband and the story went on to other things such as a bit of horseplay.

It is said that the mixture of healing herbs that the Ashwini twins gave to the old decrepit and blind Cyavan to restore him to power has been handed down the generations as the healing tonic known as Cyavanprash. Every Indian household has known this thick sweet substance. It is both feared and loved by children.

The story has a few notable points. It highlights firstly the eyes, vision and blindness, it goes into super sight, and into blindness, it emphasises the dark and light of vision.

The themes of healing, youth and revitalisation and sexuality are primary points in considering Ashwini Nakshatra as presented in the story above.
We will go on now to look into these themes.

Note the eyes that shone like stars. The eyes of the meditating Yogi that the princess poked out, are symbolic of the two stars in Aries of this constellation of Ashwini Nakshatra.

When the princess poked into these stars, she thereafter went through an epic life journey of the major themes of Ashwini Nakshatra.
By the end of this text you may do well to note the themes, consider her isolation and devotion that were called forward after the act of poking the eyes/stars.
A princess reduced to a reclusive servant is indeed an indicative symbol of Ashwini Nakshatra.

‘This Nakshatra brings a blindness that leads to vision’.
Ponder on this phrase.

In the rituals of Ashwini Nakshatra, one pokes at the starry eyes of vision and unfolds vitality and revivification of heart, body and soul.

The Yogin who works with Ashwini Nakshatra, attempts to become the princess who penetrates the stars and is gifted its healing secrets. The princess brought out the secret elixir of Cyavanprash after all!

The South Node & the Ass

Let us consider the 3 Nakshatra’s that are ruled by Ketu to further decode this mysterious energy. Ketu is the ruling Planet of Ashwini Nakshatra, which is the Nakshatra we are presently focusing upon. In Ashwini, Ketu is about going deep into the art of healing.

Ketu is also the ruler of Magha Nakshatra. Magha is the throne of royal power. In Magha, Ketu energy brings us to our seat of power through honouring our heritage.

Ketu is also the ruler of Mool Nakshatra, Mool Nakshatra is ruled by a Nirrti.
She is the Godess of destruction, born of Adharma and Himsa, (unhealthy action and violence) Mool literally means the Root of the body.
Think of the Root, it is the place of defecation, there is no creativity without destruction, is clear here in the sense of defecation.
This is the Base Chakra, the Anal area which is known also as the Ashwini horse point. This is the door of Ganesh. The Tantrics call it Gaja Dhwar, which literally means the elephant doorway.
Ganesh has two colours.
Firstly he is grey. Grey is the colour of Ketu. But Ketu is also said to be red, and so is Ganesh said to be red.
Ganesh is the deity of both Mars and Ketu. When Ganesh sits on the throne of Magha, he becomes the royal red ruby. The chair of Magha is the sexual opening which Tantrics call Shakti Dhwar, literally the doorway of the Goddess.

Rahu and Ketu are also opposites. Rahu is red and hungry. And when Ganesh is Red, he is in action and moving to the realm of Rahu. Rahu and Ketu are inseparable mirrors of each other.
Now the deeper connotation here is that the sexual opening is Rahu and the Anus is Ketu.
The Nadi (energy channel) receives the smoke of Ketu from the anus and out the sexual opening. Rahu and Ketu are connected to obscuration, eclipse and smoke.
This Mudra of drawing in ‘psychic smoke, into the anus is known as Ashwini Mudra.
It activates the Ketu energies and brings them into the field of consciousness.
Consider that after the horse defecates, it draws the anus in.

In the ritual of Ashwini Nakshatra, the anus is worked with to a rather great degree.
Moolbandh is the sexual door Mudra that swings the sexual door open and closed.
Ashwini Mudra is the action of swinging between the open and closed door of the Anus.
The Tantric learns to switch between these energetic actions and doorways.
Deep psychic energy is stored in these centres, by becoming conscious of the contractions and impulses of these doorways by making unconscious sensations conscious, the Yogins awaken the potentials of the Rahu and Ketu axis.

We will next consider the Story of the birth of Ashwini Kumar horse twins.
It is a story that points to sexual themes and dual energies.
Notice in the story that they came out of their mothers nostrils, one from each.
This is an encoded part of the story, that further points to the dual doorways of the anus and sexual openings.
The ritual practices of Ashwini Nakshatra involve connecting the nostrils with the lower doorway of the Anus, in what are known as the Ashwini Pranayam practices.

Horse Birth

Let us look at the birth and origin of the Ashwini twins. We will consider the fascinating story of how they became the celestial healers, along with the perhaps even more fascinating story of their birth. This will take us deeper into the insight of their power and position amongst the stars.

On with the rather sexy story of horseplay and the resultant birth of the beautiful horsey healing boys who became the celestial healers.

Here we first visit a familiar myth of the Sun and his wife Chaya, the shadow woman:

Once upon a time, the Sun had a wife. She loved him, but he was too hot and overbearing for her with his active radiance and heat.
The Suns wife Sanjana, needed a break, and so she ran away to a far off forrest and took to Yogic practices in order to learn how to handle solar heat.
She practiced intense Tapasya and Chaya Karana. This is the practice of working with the shadow. At deep levels of this practice, the practitioner is able to get their shadow to move about and do things. Sanjana sent her double of the shadow woman Chaya back to her husband the Sun to stand in for her while she continued with Yogic practices.
The Sun suspected nothing as the Shadow wife resembled his wife Sanjana in every which way.
Time passed and many things happened. The Sun and the Shadow woman gave birth to Shuni (Saturn), who be the force and weight of Karma itself.
Chaya ended up cursing her children, Shuni and Yamaraja, the lords of Karma and Dharma. She left both of them limping with her curses.
Consider what this symbol of limping could mean when applied to these terrible two, as they are known.
Yamaraja and Yami the twins were born earlier from Sanjana, and Shuni was born of Shadow.
When the Sun thought about it, he realised that no mother would curse her children in this way, and so he cast his beams across the earth and saw his wife Sanjana practicing the ancient Yogic devotions in a far off forest.
He set off towards her. The wife started get hotter and hotter and realised that the sun had found out, she used her Yogic Siddhi (power) to turn herself into a mare and charged off at lightning speed, so fast was she that the sun was left in the dust. The Sun turned himself into a horse, and darkness descended without his solar light in the world. Then the chase began.
As he watched his wife run from behind, his sexual desire reached uncontrollable levels. He leapt through the sky with a mighty neigh and landed inside his horse wife and ejaculated instantly.
The horse wife sneezed at the moment that he ejaculated, and out of each of her nostrils were born the Ashwini twins.
They were beautiful and powerful with such potent sexual charm, that none could resist them.
It is said by Tantrics that the energy of the moment of sexual conception is ever carried in the aura until made conscious.
And so, the Ashwini horse boys became the celestial studs in the very truest sense.

We have already considered how Ketu is the ruling Planet of the Ashwini Star boys. And we have looked at how Ketu represents the Anus.
In Tantic lore, it is said the Sun in the guise of a horse mounted his horse wife anally, this refers to the Ketu element of the whole horsey constellation.
The work with the Anus is primary in working with Ashwini Nakshatra and Ketu in general.

Soon we will see how Venus hung upside down and inhaled the smoke of Ketu. This symbol can also be taken to mean that he inhaled through the Anus. (refer to the section on Venus below)
This anal inhalation of the smoke of Ketu, is a Tantric practice of the doorway known as Gaja (elephant), Dhwar (doorway) of the grey Ketu aspect of Ganesh.
The symbol of Ketu is inherent in the name Gaja Dhwar.
The anus is possessed of the nerve endings that when worked with, can access ones Karmic lessons in relation to Ketu.
This ritual night will be a night of Ass, and we are not talking mule!

How they got Healers

The Ashwini Twins grew quickly into powerful healers. They wanted to extend their skills even further and lean the art of Rasanaya Vidya, also known as Madhubala Vidya, which means the wisdom of sweetness.
This is the wisdom of making potions and medicines and secret elixirs from even more secret herbs.
It was the god Indra who knew this science and carefully guarded it that no one should find out and become as powerful as he.
Indra taught it to the Rishi’s Dadachi for his own interests and protection.
But he told Rishi Dadich, that if he ever taught any of it to anyone, his head would be chopped off. (Take note of the Ketu symbolism here)

A modern postage stamp of Rishi Dadachi

The Ashwini Twins were possessed of profound intelligence and figured out a way to learn the secrets. With their surgical skill, they simply removed the head of Rishi Dadachi and replaced it with the head of a horse. They learned the secrets of Rasayana Vidya and after they got every last drop of knowledge out of the horses mouth, they reattached the original head of Rishi Dadachi with the help of some healing elixir, The old Rishi was good as new.
Rishi Dadachi could not really be held accountable, and so he managed to keep his head.
In the section of Venus that follows the next, we will further see how Indra tried to make sure that Shukracharia should not get powerful enough to destabilize his throne as the King of Paradise.
Another version of this story tells how the Ashwini twins preserved the original head and the horses body. When Indra did chop of the horse head – that told the secrets – on the body of Rishi Dadachi, the twins simply replaced the original heads and found a way to get past the curse of Indra.
On account of this tale, Dadachi is also known as Ashvashirsa, which means horse headed.

To Scoff or to Nibble

Though this is a Ketu ruled Nakshatra, we must consider that Rahu can’t be separated from Ketu. After all they were once one being that was split in two.
They are ever 180 degrees to each other and move as a mirror.
They are the spiritual mirror of the Smokey realms of the soul.
Both are linked to smoke, one exhales and the other inhales smoke.
Rahu became the hungry head separated from the body, that consumes and looks ever forward, Rahu is never able to retain anything because he’s cut at the neck,
Rahu is ever exhaling smoke because things go right through him.
Rahu is said to be the exhalation of the Smoke that eclipses the sun.. and so his head expands ever forward and consumes.
He is exaggeration. Rahu is a loud energy that makes everything in realty grow and appear larger than it is.
He takes away the light and makes one becomes blind to reality.
Rahu ornaments things, he is drama and dress, he is the oversized crystal ring and the styling with bling, the ego if you will.
Rahu is the head in the hand of Kali Ma. Until the head is taken off, Ketu is not awoken.
So Ketu is the body half that is also symbolised as the tail of the serpent. The birth star of Ketu is the celestial serpent of Ashlesha Nakshatra incidentally.
Ketu is the reflection of Rahu. He is the exact opposite. The tail portion is the detachment. The Root of Kundalini Shakti.
Ketu is a severe force of asceticism. Ketu is solitude and potent detachment.
Ketu has not the hungry head of Rahu on his shoulders. His head has been cut off. Ketu is the acceptance of the past. Ketu is the past and the one who retains it, unlike the head who is ever hungry.
Ketu therefore inhales smoke.
Rahu gulps and bolts his food down and is unaware of the consequences of his actions, because there are no consequences for him, everything simply just passes through him. Rahu is loud and the mouth is ever smacking its lips in search of more, ever hungry and ever tired and never fulfilled.

Ketu on the other hand – as we are told in the stories – is given to fasting and hardly eating or sleeping. He is the aseptic who takes what he gets.
Several Magical novels of Hermann Hesse, are very indicative of the the themes of the Rahu and Ketu axis issues. Those wishing to investigate this energy through existential themes would do well to read,
The Glass Bead Game (1943),
Narcissus & Goldmund (1930)
Siddhartha (1922)
The Journey of Ketu is down and back .

Venus in Pains

Consider the story of Shukracharia (Venus) He has the wisdom of Mritsanjeevani Vidya. This is the ability to awaken the dead. Shukra means sperm quite literally. He awakens the spirits of the past and gives them life.
The spirits and ancestors of the past are known to Yogins as the Pitris. The Pitris ruling planet is nothing but Ketu.
Shukracharia (Venus) got this power to awaken the dead by hanging upside down from a tree and breathing in the smoke of a fire that burned beneath him.
This is a very strong ancient Tantric Sadhana that a few Tantrics still do to this day.

The reversal of the head under the heart is a symbol to meditate upon here. Shukracharia started to slowly acquire power as he continued his austerity.
His nemesis and opposite Indra sent his daughter Jayanti to stop Shukracharia from getting powerful (remember that Indra is the king of the Devas, and Shukracharia is the Guru of the Asuras).
Indra’s daughter sprinkled chili-powder into the fire so as to stop Shukracharia completing his ritual austerity, but still he induced and continued. She added more spice until the fire burned noxiously with thick suffocating clouds of smoke.
Blood started to pour profusely out of Shukracharia’s swollen head. It came out from his eyes, nose, mouth and ears and landed in the fire which burned poisonously.
He breathed excruciatingly as the toxic Rahu laced smoke was breathed in.
Pay attention and note that these are the openings in the head, the chili is Rahu and so is the head, but the head is upside down at 180 degrees, which indicates the place of Ketu. Chili powder is also red, this red colour of the chilli powder is a very significant detail, as you will see if you’ve payed attention.

Shukracharia’s head being upside down signifies that he turned around and went from Rahu to Ketu by restraining himself to this austerity.
The Rahu energy tried to distract poor old Venus from completing the ritual that would give him the power to raise the dead.
The Rahu energy brought spice and drama and all the blood sweat and tears that goes with that. It brought all of this for Ketu to resolve. Did Venus continue.
Hell yes he did!
Shiva stepped in to overt the potential explosion of the head after years of hanging over the noxious fire. Shiva blessed Shukracharia with Mritsanjeevani Vidya and so the enduring Venus got the power to raise the dead ancestors (Remember that Shukra means sperm).
That Shukracharia underwent this extreme austerity with ruthless fortitude is indicative of him aligning to the energy of Ketu, who represents the extreme magical austerity known as Tapasya. This is the skill to turn towards introspection when the fires of heated motion prevail. Ketu is the one who turns action inward. Actions of restless activity, such as searching, looking, moving, doing and scrolling though the endless rows of information are commanded by Ketu.
Ketu is extremely stern and able to face deep solitude and pain.
Ketu can weather the harshest terrain because he inherently carries the vision of healing.

The daughter of Indra was so impressed by the devotion of Shukracharia, that’s she fell in love with him. Much to the dismay of her father Indra, who now had lost his daughter to his arch enemy.
What a story!

Cut it off

The Tantric’s initiate is to cut off at least one head in their lives.
Removing their own head of the Rahu within and becoming the audience and not the participants of ancestral Karma and drama.
Rahu is the head that likes to add a bit more spicy chili powder to reality.
Ketu is the one to release and heal by stepping out of the action of ever consuming the Karma that we are involved in.
Ketu is like the isolation, reduction and restriction… this is especially poignant in these times where Rahu is the excess. His motto is more is better, he wants to sprinkle every damn flavor on his plate but is never satisfied and so never steps out of the cycle of ancestral Karmic patterns and never will, his motion is up and out.

When we go down to the ground where Ketu is, then we take to simplicity and healing. (Ketu’s motion is down and in) Ketu is the record keeper of all events, he therefore represents memory. When memory is gone it is a sign that Rahu is in town and has taken over. At its most extreme expression we see dementia. Memory decay and dementia is a symptom of Rahu. He’s so hungry for more of everything that nothing registers and no memory of any action is retained.
Sometimes we pick up these ancestral patterns if we are familiar to this.
Whatever the excess is, one can be certain that in excess consumption memory will not be. Whether one travels between countries and cultures on the quest for experience, or whether they spend and buy to excess.
It is the excess that erodes the Part of the mind responsible for memory. The Mannas, as it’s called, is the mind to the Yogins, it is made up of several faculties, and memory is one component.

Before we move on from the detachment, moderation and introversion of Ketu, let us also consider that he is focus, devotion and the stamina to see things through.
But focus, devotion and the stamina to see things through, can be ruin if it’s done in Rahu fashion.
Focus, devotion and the stamina done in Ketu fashion is healing, it is introspection, it is the secret to access and heal the memories of the past.
A study of our Rahu/Ketu axis is the path of Tantra.

Some Tantrics go so far as to take of a head as a reminder of the divide between the two. We have perhaps heard about the skull of the Yogin. We might be quick to dismiss it as superstition or bad magic if we follow the popular narratives of a shallow culture that is most comfortable with parroted slogans.
There is reason why the Skull is the symbol of the Tantra.
Ponder on why that may be?

The Flag

Ketu is symbolised as a flag. The flag at the peak of an Indian temple is placed in honour of Ketu. Ketu is the flag on the chariot of Dhumavati, and also the flag on the chariot of Krishna and Arjuna in the great spiritual battle known as Mahabharat.
Ketu is the accomplishment. When the mountain climbers reached the top, they would put a flag to mark the victory, this explains Ketu in a nutshell.

But Ketu is not the champagne and after party only. Ketu is the friends that fell down the rockslide as you climbed.
Ketu is the rock that sliced the hand open as you tried to save yourself from falling backwards into abyss, the selfsame hand that went septic with little hope of recovery.

When the right hand of action goes septic, we might turn to the left-hand way of Vamamarg… This is the way of the heart.

Ketu is the tears of loneliness as you realise you’re lost from the team of other climbers.
Ketu is headless and can’t see the way, but ’tis he who for that reason, finds the way!

Ketu is for this reason connected to Moksha, liberation and release.
To say he is a hard teacher is a grand understatement.
But he gets the job done.
May you place your flag victoriously upon the Mahabharat mountain of your destiny.

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Hara Ring

Hayagriva Jayanti

August 17, 2021

August Full Moon

As we move through the year celebrating the tantric festivals we  would like to introduce you to a lesser know divinity, and yet a very important one within the Tantric system: Hayagriva.
Hayagriva is the Horse headed God, and the full Moon of August is celebrated as his birthday in the ancient Indian festival known as Hayagriva Jayanti, the birthday of the Horse-headed God.
Tantric law has its roots deeply at the base of this festival, mapping out the mythological and energetic significance of this day that honours the Horse God.

Tantra goes into practical and magical invocation of the Horse energy by specific Yog practices to awaken our own inner Horse power and raise the Kundalini energy into full consciousness.

The Horse breath is a pranayama (breathing) practice that  is practiced upon this ritual Moon.
It is s breath that simulates the sound of a horse, this pranayam stimulates the nerves connected to the third eye and assists in giving one insight and vision into the two halves of ourselves (the dark and light parts of each one of us) and how they relate to each other.
The Chorrah, or Horse challana (movement), is a Tantric Mudra of moving as if one were upon horseback. There are numerous asanam in which this is done, but mostly it is performed in the squatting position. Along with inner horse Mudra these practices will be woven into this nights ritual.
On this night, Tantric wisdom harnesses the planetary energy that is present on this lunar junction. The lunar house named Ashvini is the Horse constellation that is touched upon the astral plane by the August full Moon. It gives us spiritual access to the powers of the Horse.
The Horse constellation is connected to the star brothers, the Ashvins, who are the divine healing horsemen.

The Ashvins are two healing twins who ride the starry heavens. When their influence is in orbit, they bring dead parts of us to life.
The Horse Stars bring power to those places that have fallen into Tamas (resignation). These Healing star brothers are the representatives of Usha, the Goddess of the dawn who stands for the birth of new things.

These are the energies that we shall be working with upon the astral plane on this coming Full Moon.

The Human & the Horse

The Horse is a powerful solar animal.
The Horse has an unparalleled stamina, perhaps for this reason the Horse has been used by humans for transportation. Once it was common practice to own a horse as a form of fulfilling labour duties and providing transport.
The grace and elegance of a horse is still something admired and much sought after and represented in the culture by things such as fashion icons or horse racing, dressage, festival parades and such.
The beauty and capabilities of the horse may well have been something working in its ill-favour as horses become an often mistreated ‘product’ of selfish human satisfaction.
Perhaps this relationship between the human and the Horse mirrors our own inner misbalance between the human and the animal (horse) sides of our nature.

The Horse headed god steps-up upon this ritual festival to reveal the balance of nature within ourselves; the balance between the instinct of nature and the human will.

The constellations are in favour as Hayagriva the Horse headed man opens the portal of balance upon the astral plane at the Full Moon in August.

The human animal in its potential has at once its hands in the ‘civilised’ world and its hooves upon the green grass of nature.


The confining and domesticating of wild animals is something that we see played out in a larger scale. The captivity of animals to exist without their natural climate in which to express their natural instincts is something that in our modern culture we may have got completely conditioned to.  We might be so used to it as to even take it as a normality.

It is worth recalling that, the Western project of Enlightenment has been one of domination of Man over Nature, as opposed to living in equilibrium with nature – the objective of ‘Eastern Enlightenment’ and in particular of Tantra.

The reigning in and confinement of instincts is equally paralleled in the human.
Our human nature may have become confined within religious and spiritual dictums, or it may have been harnessed to pull the cart of commerce and capitalisation as the authentic human being gets overridden by other gods and myths.
Many things we might take to be normal are brought into question when and if natural law unfolds. Tantra is the path of attempting to reveal and unfold Nature’s Laws within ourselves.


Hayagriva is mythologised as a great yogi who acquired immense power, which he couldn’t handle and therefore ended up misusing.
The myth tells how of he fell into the shadow of unconsciousness and threatened the very existance of creation. Hayagriva was a black horse headed yogi who had become so powerful that the power went to his head. He was driven by one-sided unconscious forces that were heedless to any effect, for the unconscious shadow was outside of the eye of awareness.
Unstoppable was he in his destruction, just like the horse that is able to run at great speed without getting breathless. This is why Hayagriva represents the unstoppable force of Prana.
By his unstoppable force he reigned darkness upon the world, so much so that he even caused the sun to fall.

The world threatened to fall into complete darkness as the black horse ran amok in his self-glorifying dance of destruction. In this state Hayagriva represents the unconscious use of power without a balanced natural will to guide him.

From the celestial spheres above Hayagriva was met by the other side of his shadow, his light form, a white horse that had galloped along with him all along, but outside of Hayagriva’s consciousness.

It is sometimes so, that the unconscious shadow-forces possess one and create a darkened life void of awareness.

The black horse suffered for his relentless blindness and held a secret prayer for salvation from his dead ended path. And so the white form of Hayagriva was called forth and into awareness when the mindless shadow rampage had reached the furthest extent of blindness possible. A war and struggle of epic proportions between the two was brought forth until a balance between shadow and light was restored.

Tantricly speaking, once the forces of the shadow become known, they can be gradually and carefully integrated from the unconscious and often destructive levels they play out in our lives. Once seen, known and worked with, our shadow parts can be put to use creatively to unfold in more constructive and mysterious ways of using power in our lives.

The integration of the shadow, the core objective of Tantra, is symbolised in the myth of Hayagriva.
Seeing the Shadow in wakefulness and not in a dream state that it so easily casts upon us is a grand undertaking.

The Black Hayagriva represents unconscious forces in the shadow such as jealousy, selfish interest over others and the will to be superior. These being all powers that can’t be stamped out, but powers to be redirected and liberated from unconscious programs and traumas that give them their birth and power. They become creative forces when the two horses, black and white, are unified and work with each other. This is the birth of the Horse god within us.

It is the unified Hayagriva who carries the Sun up each day at sunrise and lets her rest at night. He comes to know both parts equally, light and darkness, and doesn’t try to keep the Sun down in the night nor up during the day. He accepts the natural existence of both and lets them express themselves equally.
Representing the strength of our prana and how by balancing the black and white horses of breath – the in and out breath is implied here – we can raise Shakti from the unconscious levels to the levels of awareness.
The unified Hayagriva is the inner alchemy of the black and white horse – the objective of the ritual gathering we will undertake on this Full Moon.

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August 11, 2021

Kundalini Constellation
Ashlesha Nakshatra

Ashlesha Nakshatra is the celestial snake constellation.
The stars in the head of the Hydra form Ashlesha.
The word Ashlesha is comes from the root Shlesha, which means to entwine or to wrap around.

This is one of the Nakshatra’s that has a collective as its presiding deities.

Review also the text on the collective deities called the Vishwadeva who dwell upon the Nakshatra of Uttara Ashada.

The collective deities of Ashlesha are the Naaga serpents. In the course of this text we will be looking at some of the implications of the Naaga serpents.
It is a vast and fascinating subject that we will attempt to look at from the stance of this ritual work.
There are many mythologies of serpents in the Yogic teachings that carry encoded teachings. Consider that Shiva wears the serpent Vasuki around his neck.
Vishnu rests upon the serpent with an infinity of heads who is known as Ananta Shesha.
Ganesh wears the Serpent belt around his thick waist.
Krishna battles with the venomous serpent Kaliya.
Or the serpent.
Buddha was sheltered from the storm for seven days and nights by the Mukhalindh.
These are just a few serpent teaching symbols and stories of Yogic wisdom.
Khodiyar Maa is also a Tantric Goddess connected to the Naaga serpents. You can review a past text about Khodiyar Maa here.

The constellation of Ashlesha Nakshatra brings us the teaching of the etheric serpents that the Yogins call the race of the Naaga.
These serpents relate to the Kundalini serpent of the central spinal channel in a direct and yet subtle way. The Naaga energies are the basis of reality. They are the etheric matter that informs all phenomena from behind the veils of awareness.

How the celestial serpents relate to our experience of the personal Kundalini phenomena will be a study of this nights ritual. The ritual of Naaga Panchami spans India across many thousands of miles, there are many unique and particular regional celebrations and rituals that mark this festival. The sun is in Ashlesha Nakshatra between the 3-16 of August and this is when the ritual of Naaga Panchami takes place. It is ritualised on the 5th lunar night.
Naaga Panchami is a time when snakes are most present and prevalent on earth.
It is a time when the snake constellation of Ashlesha spreads its teaching to us on earth. The 5th lunar day is known as Panchami. It is the Moon phase that is sacred to the Naagas, rather interestingly, Ashlesha consists of 5 stars in the head of the Hydra constellation.
The 5th lunar day is a day of release and reception of lunar and etheric force. Every Panchami is reserved by Tantrics for work with the snake energy. But Naaga Panchami is the main Panchami of snake power in the Tantric calendar.

Celestial Snakes & the Doors of Perception

The Naagas inhabit the deep subterranean realms that are beyond the reach of Moon and sun. Naaga Lokh is the world of the Naaga. It is a place of unparalleled beauty and is described in the Yogic mythologies as the most beautiful paradisal realm where the most splendid jewels and treasures are to be found. The jewels of Naaga Lokh are described as radiating their own light and thus lighting the dark world of the Naaga from within.
How do we respond when we hear of a subterranean realm without light that is inhabited by serpents?

We may make interpretations according to the customs and thought forms assigned to the archetypes of our culture.

This highlighted sentence is central in getting an insight into the energies of Ashlesha. The Naagas are the underlying energy essence of phenomena.
Akash is their element and this is the subtle-most ‘physical’ element. Akash is the etheric element that is described by the Yogins as the subtlest of the 5 elements Pancha Bhoot elements.
Akash gives sense to phenomena at the most fundamental level.
Let us take a practical example of these principles that so easily can start to sound like mere wordy metaphysics:

Maybe we are blessed enough and used to living in a fine house with fresh running water. Perhaps we have a soda-stream machine that gives us access to refreshing sparkling water. Perhaps we even have a refrigerator to tune the water to our exact preferred temperature.
Now, if we were to pass a puddle of muddy water in the street, we would not think much of it, and would most probably seek to avoid stepping into it.
But the self-same puddle of dirty water would be a prize for someone else.
We all know that there are parts of the world where drinking water in very scarce. For someone living in such a situation, the dirty puddle water becomes highly precious. It is still the same puddle, but it has a different value put upon it that is relative to the situation.
In the same way, for some, a snake is a terrible creature denoting sin and the very opposite of spirituality, to others it is a sacred creature.
Some view the regions below the earth as infernal pits of damnation, but for some, they are regions of beauty and paradise.

It is the thought form that is assigned to the symbol, that creates the symbol.

A muddy puddle can verily be a source of life, or a thing of disgust. The same with a snake, which can be a divinity or a devil, or the underworld can be beautiful or ugly, horror or wonder!
The energy that we assign to phenomena is not in the thing itself, but in us.
The Tantric’s call this underlying force the Akash element that informs all phenomena and creates phenomena to be what we turn it into.
The snake is either a devil or a divinity depending upon the underlying Akash element that we shape in the furnace of the soul. We can think of ourselves as a blacksmith that is ever shaping and creating reality.
Knowing that we are giving meaning to everything around us, does not offer us any solutions to extricate ourselves from the meanings we assign to phenomena.
We might be disgusted by the same thing that someone else is inspired by, but the energy that assigns disgust or inspiration to phenomena is in the realm of the deep unconscious.
It is in the realm of the Naagas, in a realm of no external light, but a realm with internal light that creates from the inside out. Remember that Naaga Lokh has only internal light that emanates from its jewels. We could liken Naaga Lokh to the unconscious underworld workshop of the blacksmith soul that fashions reality based upon unconscious impulses.
The Tantric works with the Akashic element that is ever creating reality and assigning meanings to things.

What happens when we un-invest the energy of meaning from phenomena?

What happens when we relinquish our thought forms and see reality without the coloured lenses of the unconscious world?

Here written in his own hand, the 19th century English mystic William Blake encapsulated this in a few verses thus:

When we travel to the underworld of Akash that is deep within the caverns of creation in our soul, we encounter the Astral serpents that live in our soul.
The Naaga Akash beings are like astral energies that whisper with lisps, slivering deeply, silvery and silently behind the lens of our life experience.
The realm of the Naaga is created by our personal Karmic impressions. Things such as cultural, religious and ancestral energies, travel deeply into the underworld and live in the unseen.
Such things enter invisibly into the hidden realm because they are so fundamental to the fabric of our being. Cultural, religious, ancestral and gender energies are often part of the consensual reality that we are woven and intertwined with. But it is a question of relativity of notion, that is nourished by focused attention with no actual basis in naked reality.
The established codes of culture and civilisation might even run contrary to nature?
The Tantric does attempt to move into the naked reality, while acknowledging and moving within the consensual streams of realty that prevail in the life they live move and have their being within.

The 19th century French Occultist Eliphas Levi had popularised the principle of the Astral light. This is worth mention here because it has parallels to the Subject of the Naagas element of Akash.
The Astral light is a term that Levi much popularised in the area of occultism. The Astral light is a neutral substance that pervades and underlies all phenomena. Levi’s system of occultism worked very much with imbuing the astral light with one’s intention through working with one’s Will and Imagination.
Tantrics recognise this absorptive quality of the etheric substance to take on the character that we impress upon it. Though we often impress upon the Astral light or Akash element in an unconscious way, it is possible to effect the phenomena of our lives by wilfully manipulating the underlying energy behind manifest phenomena.

The Tantric branches that deal with healing, seek not so much to imbue the Akash element with one’s will, as they do to un-imbue or un-invest it from the energy of will and imagination.
Tantra covers a broad spectrum and scale of practices and practitioners, a practitioner of Tantra can be a magician or a healer, or both.
In the healing arts of Tantra, the practitioner attempts the healing of the vision through approaching the pure perception that was so beautifully versed by William Blake in the quote above.

Rather interestingly, Levi called the Astral light the great Serpent. He described the astral light as being a serpent like receptacle that is open to receive and reflect back all the deviations and pollutions of consciousness.
He describes the Astral light to originally consist of pure energy which can take in all manner of spiritual pollution and distortion of reality, ranging from a slight blemish upon the face of reality to downright toxicity. Once invested of inceptions and deviations from pure awareness, the astral light has the ability to bite back like a serpent and cause spiritual and physical suffering. Levi described the astral light as being a mirror of our consciousness that connects our inner reality to the pure energetic essence. The scale of deviation from the essence reality is vast. Levi said it gives us back what we put into it.
Levi also hinted that the astral light takes on collective energies and creates a mass-consensual-reality that reverberates back as psychic and even physical events such as collective waves of consciousness and happenings of collective tragedies such as epidemics.

Without digressing too far off topic, it is worth noting how the Russian Occultist H. P Blavatsky said that the ability to access the universal Akashic Chronicle is dependent upon how good a contact one has with the unembellished form of Astral light. She implies that memory becomes opaque if we do not do the work of purifying the thought forms that live in the personal and collective Astral light with which we are intertwined. The process of extracting ourselves from the thought forms of the astral light is a rather universal theme across the magical systems of many cultures.
Even in the Kabbalah, we see the spiritual map of taking back the symbols and moving towards the pure manifest.
Those who would like to read further into these subjects are recommended to read any of the books by Eliphas Levi, such as A History of Magic, translated by A. E Waite, and Isis Unveiled by H. P Blavatsky.
These books were written a few decades before the close of the 19th century, but they underlie many of the Spiritual notions that have become inherited into the Western spiritual tradition, the ideas presented in these books inform much that came after.

Shedding the Skin

We have looked at the Astral light as an analogy of the Akash element of the Yogins that underlies and informs all phenomena.
Let’s look a bit more into how one would go about the act of freeing oneself from the encasements that wrap themselves around the soul.

Through the course of our souls journey, we develop skins, some of which we shed, some which we keep. Costumes and Uniforms around the soul might be a way to navigate the many terrains of existence, We shift in and out of characters to suit the situations we find ourselves in. Some situations in life are restrictive and some give us the liberty and space to be free.
Perhaps there is a way to gain the inner liberty to shift between forms without feeling the poles of freedom and restraint?
This is a question to ponder.

What would it take to feel unrestricted by situations around us?

Maybe if we are not inwardly restricted, then we wouldn’t feel restricted by ‘outer’ happenings?

To become so predictable as to react to outer situations and phenomena in a clockwork manner, is the very opposite of liberty.
Ashlesha can be translated as the restricter.
This Nakshatra brings us the awareness of what it is that restricts us from without. The gift and awareness of Ashlesha is to find that the outer restricter lives within the Akash element within us.
This Nakshatra presents us with a profound teaching.
Some might never look at the outer as being a reflection of the inner.
The Tantric’s attempt to look.

Shedding the skin like a snake is no easy thing. When a snake sheds its skin, it is in a state of hyper sensitivity and vulnerability. It is even temporarily blind. It is the time when the snake is most exposed and prone to attack. Losing our skins, even the ones that are comfortable and familiar and yet squeeze the life out of us, is to enter into the nakedness and sensitivity of the snake at the time of shedding. This is a lesson that the snake transports to us.
The vulnerable place is a place of power. It is a transitional rite of passage but it’s not only easy sailing and pleasant.
Tantric’s approach the vulnerable place. When the vulnerable place is lost. We become encased. The avoidance of the vulnerable place is not strength, but stiffness.
When we approach the vulnerable place, the body heart and spirit melt.
Stiffness of mind, body and heart mask the wound. The only way to approach the vulnerable place is to have courage.

Kundalini Constellation

Shiva has the Naaga king named Vasuki wrapped around his throat. Shiva is the Yogic god who symbolises among many things the awakened Kundalini.
Kundalini is a heavily loaded word, Kunda is the pot at the base of the spine that houses the coiled Shakti energy,
Kundala is a swinging vibration. When the energy from the pot is freed, it creates a psycho/physical circuit of energy that gives the sensation of a swinging vibration.
Some of the Tantric practices create this sensation rather immediately, this inner swing is visited and gradually cultivated, it can become a perpetual inner motion of Shakti.
Kundala is also the literal word for the earring that Shiva and many Yogins wear.
It is a type of earring that swings side to side when one walks.
To wear the Kundala earrings is a meditation technique in itself that some Tantrics practice.
It involves becoming aware of the swing and sensation in the ear, and meditating thereon.
At advanced levels, the practitioner of the way of the Kundala earring starts to synchronise breath and Mantra with the swings of the Kundala.
The Kundala offers a practice of the utmost awareness.
By becoming acutely aware of our conscious actions, we gain insight into the underlying unconscious elements that inform consciousness.

A particular weight is selected according to the capacity of the practitioner. The piercing of the ear connects with the sexual Nadi (energy channel) and has a subtle effect upon the Sexual Chakra, which in turn affects the Kundalini.

The Jewel of Ashlesha

The Naaga Snakes of Yogic Mythology are said to be the Keepers of the Naagamani. This is a jewel of great healing power. It is said that very old Cobras have this jewel inside them. Some Tantrics believe that it is in the throat Chakra of the snake, while some say it’s in the crown Chakra of the snake. It is said to be a stone with magical healing powers that is very rare to come by. Some have postulated that the jewel is the dried venom glands. Others say that it glows in the dark. Some have taken the jewels to be the innermost power of the Chakras.
In the following section, we will apply a meditation of looking into the Jewels within.

Coiled Force

The Kundalini rises as the Jewels of the Chakras are polished and refined. The polishing of the Chakras is the healing of the Akash element from its inceptions and energy investments.
The Chakras carry skins that are sometimes blocking the opening of the Shakti in the pot. This Shakti in the pot is known as Kundalini.
By looking at our Chakras and studying the psycho/physical energies of these power stations, we get insight into the coverings that might be obscuring the self-illuminating radiance of the Chakric jewels.
Tantric’s speak of the 3 Granthis which are sometimes called the 3 cities, or the 3 jewels. Untwining the Granthis is the un-obscuring of the jewels.

  • The realm of the lower Chakras, which are linked to the creative force and is called the Brahma Granthi. This is the knot upon the creative force. When untwined, the Kundalini force moves from this point.
  • The heart region, is the preservational force which is linked to Vishnu and is called the Vishnu Granthi, this is the knot upon the heart. When untwined, it opens the heart.
  • The throat/head Chakras, which are the realm of Shiva the destroyer. Known as the Rudra Granthi. Its untwining is the destruction of all formulated realities.

Meditate on these 3 areas in your body and spirit.
Look into the 3 jewels by way of contemplation, and ask yourself the following questions by letting your psychic vision unfold the teachings of the 3 jewels.

  • What is the condition of your base, creative and solar plexus Chakras. How does the jewel of this realm appear?
  • What is the condition of the Heart Chakra. How does this jewel of the heart realm appear?
  • What is the condition of the jewels in the realm of Shiva, spanning the throat to the crown Chakra. What does the Jewel that has the power to destroy reality have to tell you?

Snake Bite

The many bites that destiny delivers to us are our lessons.
Some bites can be mild, maybe even pleasurable. Some bites can inflict venom and be paralyzingly painful.
The outer bites might come to us in many forms and mediums. Outer bites become inner bites and cause us to bite back until we have our teeth well sunken into the realm of the Naagas, and be chewing away at a corner of personal reality.
Personal tragedies can be like a sharp bite to the heart. Financial, existential or health struggles can be like gnawing, chewing bites. Accidents and injuries can be like sudden bites.
In this here reflection, identify 3 bites that destiny has delivered to you.

  • Identify a bite first on the physical level. Perhaps you have a physical symptom or had an accident or operation that causes you discomfort.
  • Next, identify a bite that destiny delivered to your heart. Maybe a personal loss or any other cause for heartfelt lament.
  • Identify a Mental bite, meditate deeply on the things that move through your mind. Maybe regular thoughts or phrases, maybe you labour under a conviction that might be causing you suffering. It might not be so easy to separate the mental from the feeling level, but try in your own way to access your mental body and discover your mental bite.

Some bites might be slowly poisoning and venomous, some might be drinking blood quietly in the background unnoticed. When we silence inner and outer happenings by applying contemplation or Tantric practices, we sometimes get an insight into the bites that live behind the surface.
Silence and contemplation has often been a key component in Tantric practice.
Silence and contemplation offers a route to sink behind the surface layers and gain vision of that which lives in the undercurrent of our being.
Sometimes the wish for, and the seeking after many external waves in our lives is an attempt to escape the undercurrents of the soul.
Deep healing of the soul and spiritual empowerment comes from traveling to the undercurrents.

To join the ritual
on Friday the 13th of August 2021


Hara Ring


August 6, 2021


Ardra Nakshatra

Rudra is the teacher who teaches us
to contain, and to spiritually empower ourselves
with the Primal rage of existence.

Ardra Nakshatra is the lunar house of the raging god Rudra.

Destruction and Re-creation are both themes of Ardra.

This Star is connected deeply to the water element, Green is the colour of Ardra, we can take this green colour to mean the growth that ensues after the moisture fertilizes the soil of the soul.

It is the star Betelgeuse in the shoulder of the hunter, in the constellation of Orion.

This is the celestial warrior Orion, whose name is most probably derives from the Greek word Arion which means hunter.

Ardra actually means moist. The symbol of this star is a teardrop, a teardrop of emotion and the rains of life.

The lessons of this star is given by considering how the rains bring growth and life, while also considering how the rains can also flood and ravage.

Ardra also contains the word Rudra and is also simply called Rudra Nakshatra.

The rain of Ardra is a furious thunderous storm and not a sprinkling twinkling shower. The water of Rudra is not a sweet refreshing freshwater stream in the height of summer, but rather it is a tempest of crashing screaming waves in the bone splitting coldest and darkest corner of the ocean.

The Primal Scream

Rudra arrived in the world howling and roaring like comic thunder.

Rudra in fact, means the howling screamer. He was born androgynous, purple and wild.

Creativity takes destruction and combustion to ensue, like a cloud that opens its waters for the sake of growth and nourishment. Creation takes death and transition. Death is implicit in every act of creation. Rudra is that death.

Rudra is Shiva in his primal aspect. Rudra is the furiously red lord of Tantra who becomes the cool blue Shiva, after immersing himself in Yogic practices.

Shiva is the mastery of the raging Rudra energy. Shiva contains the root Shva, which implies death, calmness and stillness. Rudra brings the death of rebirth. Rudra is the transitional maneuver twixt the poles of tension and suspension. Rudra takes us from one state to another.

That becoming Shiva, is representative of the transition between storm and calm. Rudra to Shiva is the path of integration of the stormy forces of the heart.

Rudra is the teacher who teaches us to contain, and to spiritually empower ourselves with the Primal rage of existence.

When the storms of the heart are brought forth. Rudra can and does shift back from his Shiva state and unto his raging Rudra state of wild and destructive force.

We will now look at some stories that highlight this transition between Rudra and Shiva.

The Birth of Rudra

The stories tell us how the desire of the creator to populate creation gave birth to Rudra. This will be a simplification a longer more detailed tale, but we will bring out the most poignant points.
At first the creator had a desire to populate the creation. And so some children were birthed. But the children were so calm and detached, that they had any desire to do anything of the sort and refused to populate the creation. Instead, they wanted fly the starry sky in meditation of the great mysteries.
These were the 4 Kumar brothers who are perpetually young little boys, they never reach puberty and fly around the skies naked. They were not interested in the least about the creation, but rather just wanted to be left alone, so that they could meditate of the mysteries of the great beyond.
The creator became furious that these children defied his will. The creators anger built up in his third eye Chakra. A frown knotted his brow and built up to such an extreme, that it erupted as a storm. And so Rudra was born of the rage and frustration of the creators third eye Chakra.
Rudra was born bright purple, it’s significant that Rudra is a mix of opposites. He contains both male and female and the colours red and blue.
Rudra roared and screamed so forcefully that his rage threatened to erode and crumble creation. His rage was so destructive that it had the potential to create.

Rudra then exploded into half. He became Rudra and Rudrani the red. They further exploded into 11 furious forms and continued to populate creation.
Rudrani is the female half of Rudra. Rudrani finds her expression in her various incarnations of the Urga (fearsome) Devi’s (Goddesses). The fearsome goddesses such as Nrritti and Matangi are two such manifestations of Rudrani.
The male Rudra also has his incarnations, Hanuman and the serpent Ajaikapad, for example, are two of the manifestations of Rudra.

The Rudric forms that started to populate the creation were at the same time destroying it.
The creator told Rudra that there is a way to manage this destruction if he would do Yogic practices and Rudra was very interested in the proposal.. And so the creator taught Rudra the Yogic art and science of yore.
Rudra went far into the wilderness and mountains and there spent aeons mastering Tantric Yogic wisdom.
Rudra developed the Yogic wisdom to levels far beyond what even the creator had taught him or ever even conceived of. Rudra broke on through to the other side, far beyond the known borders of creation. That is his secret magic trick that he brings to us. Rudra destroys the known order, in order to create something yet unknown.

Rudra is the ultimate Yogi who works with the forces of destruction.
When Rudra came down from the mountain, he was Shiva.
He had worked with the malefic destructive force and appeared as the ultimate benefic mellow Yogi that is Shiva. Now the creation had another face and destructive force could be balanced.

Consider some of the key points of this story in the list below and meditate upon the symbol of Rudra going up the mountain and coming down as Shiva. What connotation could the upward and downward maneuver imply.

  • The calm firstborn children 4 Kumaras who had no desire for to populate creation.
  • The androgynous Rudra splitting into the male Rudra and the female Rudrani.
  • Rudra, going up the mountain to work in solitude with his anger.
  • Coming down the mountain as the calm Shiva.

The Outcast

Rudra is an out cast, he doesn’t see within the known bounds, this is the power that his star brings to us. The time-honoured conservative, along with his precious structures, is torn to bloody shreds by the bare hands that gleam in the starlight of Ardra Nakshatra. These be the Hands of Rudra.

The story of Rudra and Sati is a central Tantric tale that tells that the princess Sati was in love with the wild Rudra who lived in the wilderness. Sati was determined to unite with Rudra. This destiny of hers caused great storms with her father Daksha who was a highly honoured master of ritual and magical creation of forms. He was a royal king of high prestige, possess of profound pride stubbornness and arrogance.

Daksha was the ultimate patriarch who was concerned with royal appearance, dominance and prestige. Rudra on the other hand couldn’t care less for outer appearances, he was too far-sighted beyond the surface of the appearances of things. Rudra saw into the depth into a place where there was no form to cover the naked essence. Rudra is verily that deep essence. He has no need for anything because he has everything in his vision that sees the indivisible pure essence behind all forms.

Sati is the link between wilderness and propriety. She is the one who stands between the worlds of wilderness and propriety as we will see.
Sati had a hard time getting Shiva’s interest, as he was often deep in trances of visiting the realms of pure energy behind the surface of appearances. Locked in Samadhi, (meditational absorption) Shiva would sit on the earth but hardly be interacting with any of its endless infinity of forms. Sati did prevail in her wish to be with Shiva, and she joined him in the ways of the wilderness. They both stood far outside and beyond civilisation, Rudra initiated Sati ever deeper into the ways of nature. Rudra didn’t dress or wash or even comb their hair. His friends were the earth bond spirits and ghouls. Shiva indulged in ecstatic trance and kept warm by the fires of the funeral pyres where he would befriend the lost and wandering ghosts.
Sati was of high class aristocratic stock, but she found more jewels wealth in her time with Rudra. Sitting in Yogic wonder beneath the dark star-sprinkled night, Sati found real royalty.
But Sati wanted to do things properly and formally, and so she told her father Daksha that she would get married to Rudra.
Her opulent honourable father hated Rudra to the core. In Rudra, he saw his very opposite. To him, Rudra was a filthy outcast who didn’t know the appropriate way to behave in proper society. Sati’s father Daksha, time and again brutally opposed the marriage. This is an important point in the story that points to Sati’s role as the bridge between two worlds of the wilderness of Rudra and the aristocratic propriety of her father Daksha.
Sati prevailed and she brought Rudra Home. Of course, within moments, Rudra caused outrage and scandal.
In the royal court, Rudra was quite a sight to behold, naked with matted hair, accompanied by hoards of ghoul and ghost.
When Daksha entered his own royal court, everyone stood to acknowledge him as was the custom for such an esteemed dignitary as he. Everyone that is, except Rudra.
Insults and outrage ensued and Rudra stayed self-contained and walked away.
At this point Rudra had already been doing the sacred Yogic practices for aeons.

Hearts will Burn

Time passed magically in the wilderness for the two lovers, when one day Sati wanted to go and see her family, she had developed a profound disgust and hatred for her father. She had been the youngest favorite daughter but bitterness had ensued since her willfulness to go and live with Rudra the wild one.
Rudra tried to stop her from going as he knew what would happen, but of course the forcefully willed Sati went ahead anyway.
In the royal palace, argument ensued between Sati and her father.
Rage shook Sati as insults were hurled between her and her father. Sati shouted out at her father that all would witness how his arrogance, hate and pride will disgrace him, and that he shall forever-after be known as the epitome of patriarchal ignorance that resulted in his daughters death.
And so Sati sat down and prepared to say the Mantra which would cause her to combust into flames. Some variants of the story said she jumped into the sacred sacrificial Yanja fire. A Yajna is a ritual fire to which sacrificial offerings are given.
Sati burned to death right in front of everyone in the palace.

The shame and guilt of his youngest daughters death was on Daksha. But he was soon to meet a foe far worse than any of this.
The ghosts of Rudra informed Rudra what had happened, and his wrathful side was evoked. Rudra tore at his Jutta (locks of matted hair) and threw them on the ground in rage, from one of the Jatta appeared the giant Bhadravira, the potent force of Rudras rage, Rudra as Bhadravira charged the galaxies like a raging storm that went tearing its way through creation.
Meanwhile, in the royal palace, insults were hurled between ghost and saint. The storm clouds rumbled through creation and the royal assembly felt the terror in the pit of their bowels. When Bhadravira arrived in his raging form of Bhadravira, the full force of his primal screaming rage set lose, eyes were squeezed out of heads, wise old beards were yanked clean off the face, most probably with half the flesh of the face.
Pushan the milk drinking god had his teeth smashed out.
(Note that Pushan is the god of Revati Nakshatra, you may review the text here.)

Heads will Roll

Before going further with the story, let us consider the ruling planet of Ardra Nakshatra, which is Rahu. Rahu is the headless North lunar node as pictured above. He is considered as one of the Navagrah, (9 planets of the Yogins) Rahu moves out and forward and is ever consuming hungrily what ever he can. He represents the future and also the results of ones past actions. It is interesting to look at how the head symbolism plays out very strongly in Ardra Nakshatra. This will be our next line of study. But first a little more on Rahu. Though Rahu is often described as being male, he is also said to carry the energy of the ultra destructive feminine.
The destructive Goddess Nirrti carries a Rahu energy, she is the Goddess of Mula Nakshatra, she is a Rudrani.
You may review the text on that which was sent in the newsletter on the 24th of June 2021. (Please request it if you have not got it and wish to read it.)
Nirrti’s Nakshatra is ruled by Ketu which is the South lunar node, she is a destructive goddess who moves between the past and the future, she is Rahu personified yet works with the root and uprooting. Her Nakshatra Mula literally translates at the Root star.
Ketu represents the roots of the past, all things ancestral and of heritage.

Rahu are the ultimate Asuras, they were once one being that became divided.

It’s interesting also that Rahu is the planet that causes the eclipse of the sun by literally gobbling it down. Interesting because Daksha was the great solar patriarch who worked with fire in his rituals. He was a master at manipulating fire for magical purposes.
The name Daksha can also be taken to mean the great skillful manipulator.
We could say that the Rudra force of Ardra Nakshatra backed by Rahu, came and gave Daksha the result of his past actions of disregarding and insulting his daughters feelings and harboring hatred for Rudra, not to mention the rebound echo of beheading so many animals for the magical rituals in which he was engaged.
Daksha lost his head quite literally in the Story.

The Daksha aspect of Rahu is represented in the hunger and want of Rahu. Daksha is ever on the quest for more power and prestige. He is like the Rahu head without body, ever consuming and yet is never satisfied. The Rudra aspect of Rahu is the eclipsing of the fire and shading things into obliteration. Daksha along with his dear Yajna fire was obliterated. Sati as Rudrani combusted to a charred body without its previous glow.
This is what Rahu does, he is a planet that works on different octaves of eclipsing.
The story shows these different octaves of Rahu force in the form of Daksha, Rudra and Sati.

And so finally, for the grand finale, the head of Daksha was wretched screaming from his body and the headless patriarch was born. Some accounts tell that Rudra wielded the Moon sword known as Chandrahas, and decapitated the head from the body of Daksha.

Daksha was a master of ritual and was given to the sacrifice of animals for magical gain. There is such a branch of magic still in existence where the etheric force of sacrificed animals is gathered and put towards the fulfillment of the desired ends. Though it is a powerful form of magic, it carries rather costly Karmic consequences.
There are some parts of India where even orthodox priests still adhere to this practice to fulfill requests. Religion is a big business in India, one can pay for such rituals. Obviously there are other rituals that do not involve animal sacrifice. There are many types of practitioners that come under the title of a Tantric . Some are doing rituals for others, those in the line of teachers of the techniques are more on the side of teaching others how to do their own rituals. Some Tantrics believe they find loopholes to get out of the Karmic repercussions of actions like animal sacrifice.
Some of the branches of Tantra deal with healing and study of the soul, but not all branches do. Some of the modern Western branches of Tantra deal with drinking strong chocolate and masturbating their clients on a massage table while New-Age music plays peacefully in the background. The spectrum of what is considered Tantra is indeed broad.
Dasksha was of the side that indulged in ritual for material gain. He was a powerful manifester. His name in fact means he who is highly adept. Daksha is a Prajapati, which means he is one of the progenitors of creation. He it was who gave birth to the 27 sisters who are the Nakshatra’s. He was arrogant, haughty and proud. To him, beauty form and manners were paramount.
Daksha is the energy that cares for what people think.
Daksha is the energy that cares for facade and appearance.
Because of this love of external form and obsession with order and cleanliness, Daksha dispised the wild natural Rudra who lived outside the principles of convention.

It was the Daksha Yajna story that really highlights the meeting of the two worlds of raw natural impulse and exterior edifices of propriety.
The Yajna had invited everyone apart from Sati and Rudra. But Sati had gone anyway and as we have seen, met her end.
The story is very detailed and has many subtle meanings woven into its narrative, right down to the directions where the many events happen are poignant and give teaching of the qualities and powers of the directions.
We are here dealing with the main points.
One such detail of note, is that the Bhadravira form of Rudra could not kill Daksha so easily.
Daksha was protected by the rituals he had been conducting for aeons in his own place of power.
Rudra’s form of Bhadravira saw that there was one place where Daksha was not protected, and so he dragged the pitifully screaming Daksha to the place where he had been sacrificing animals. He placed Daksha on the sacrificial altar and…
Off with his head!

Off with his head!

Oh! but there are a few other heads that come off in the story of Rudra, there are several stories and variants of heads being withdrawn from their bodies when we look at Rudra. Note again the Rahu connection. Rahu also once had a body before his head sliced from it . He was once an Asura who drank the elixir of immortality. Vishnu steppers in and cut the head with his spinning Chakra weapon. The head and body were hurled into the celestial expanse, where the head became Rahu at the north of the Moon, and the Body became Ketu at the south of the Moon, forever they became immortalised at the cosmic shadows upon Moon and sun.

Let’s look at another head of interest that was dispensed from its body. The sacrifices of Daksha are known as Yajna. And Yajna is also the name given to the one who does the sacrificing himself.

Yajna saw the storming Rudra charge the palace in his Bhadravira form. Yajna trembled in fear and knew he had to escape. Transforming into a Deer, he leapt from the palace, but with the force of a steaming thunderbolt, the giant Bhadravira grabbed the head, yanking it clean from the body, he threw it into the starry firmament. That head became the Nakshatra of the Deer head. Known as Mrgasirsa Nakshatra. This Deer star is beside Ardra Nakshatra.

Mrgasirsa literally means Deer headed lunar house.

To review the writing of Mrgasirsa, you may refer to the text on the website with this link.

The events of this particular part of the tale occur in the Nakshatra of Ardra. This story gives us an insight into what the energy of Ardra Nakshatra represents.

A Time to Cry

On with the story!

After a sufficient amount of bodies were made headless. Rudra picked up the dead burned body of his beloved Sati and proceeded to freak out in primal rage and trample his way all over creation.

His tears do water the land. Rudraksh means the tears of Rudra. Rudraksh is a sacred seed that is carries a potent force, Yogins recognise many types of Rudraksh, the seeds have segments which are called Mukhi (face) each different number of faces on a Rudraksh gives it a particular quality and so different types of Rudraksh have different effects. This is a wisdom kept by Yogins. It’s a very detailed subject that assigns different types of Rudraksh seeds to different planetary forces and deities. Sometimes medicines are prepared from the beads in the Siddha secret medicine of the Yogins. There are many stories both written and unwritten that tell of how the sacred Rudraksha came to earth and it’s significance for Yogins. Let us consider one such story here.
The Tantric wears a bead necklace of 108 beads to represent the 108 tears that Rudra cried as he howeled his way through creation in utter distress, carrying the burned rotting body of his only love Sati.
Each time a part of the dead body of Sati fell off, Rudra wept a tear as she faded further from him.
Where his tears fell with the body part of Sati, that place became one of the 108 Shakti Peeths. The Shakti Peeths are places of magnetic power of the temples of the Goddess in her different aspects. Each Shakti Peeth carries a different power. For example, where the Yoni and the Womb of Sati fell, that place became the Shakti Peeth of Kamakhya Devi. Kamakhya Devi is the Goddess of menstruation and desire.
Kamakhya’s Shakti Peeth is located in Assam.
In some of the lines of Tantra, the wandering Tantrics wander the land in the footsteps of Shiva, and give honour to the Shakti Peeths.
For example, on the Moon of Bharani Nakshatra. Some Tantrics travel to the Kamakhya temple in Assam for connection to the mysteries of the Goddess. Shakti Peeths are astrologically aligned to the Nakshatra’s and transport their teachings.
Bharani Nakshatra is the lunar house of the celestial Yoni.
You may review the text on Bharani here.

Water and Fire

Rudra is the storm god of water, we have seen how his Nakshatra is symbolised by a teardrop. The word Ardra means moist.
But Rudra also symbolises fire. The story of Rudra shows how he came in a storm to the royal Yajna of Daksha and took the still burning body of Sati away with him. There are some accounts that say that his houses and ghoul companions had pissed of the sacrificial Yajna fire and created noxious gasses that caused abject suffering for those who breathed them in.
This contention between Fire and water is very poignant to Rudra.
When a Nakshatra spans two signs between water and fire, then that junction becomes what is an own as a Gandanta point. It is a place of steam. Steam is rain, this is the steaming moisture of Rudra. A Gandanta point carries Karmic lessons and is a place of learning though the art and style of Rudra, often with tears and fire.
The whole movement of a Rudra storming into the fire ceremony of Dasha’s Yajna, is a portrayal of the Gandanta point. Rudra verily is the Gandanta point. He came in a storm and left with fire in the form of Sati’s still burning body.
It is known that Rudra lives in the cremation grounds where he warms from the funeral fires and befriends wandering ghosts. Rudra wears the ash of the funeral pyre, this is a custom that some Yogins still follow. Ash is the place where fire and water meet.
Let us look further into the implications of the fire and water that Rudra represents.

Rudra has two other Nakshatra’s that further point to the principle of him ruling the Gandanta points.
The 2 Bhadrapada Nakshatra’s of Purva (origin) and Ashadha (maturity) are the two Nakshatra’s of Rudra that are ruled by him in his form as the incarnations of the celestial serpents of fire and water.
The first serpent form of Rudra is called Ajaikapad who the fire serpent and ruling deity of Purva Bhadrapada. The second serpent form of Rudra is called Ahirbudhyana who is the water serpent and ruling deity of Uttara Bhadrapada. They are two aspects of Rudra, and are both the fiery and watery incarnations of Rudra.
In the human body the Gandanta points are called the Granthi’s. These are the psycho/physical knots where Karma is tied up. Rudra is the one who releases the Knot, He offers 11 incarnations, which are the teachings of releasing Gandanta. The Ritual work with Rudra of Saturday’s dark Moon will further develop towards the home meditation of working with the 11 faces of the Primal Rudra.
The primal Rudra is the primal rage.

To join the ritual
on Saturday the 7th of August 2021


Hara Ring


July 29, 2021


“Confucius said.
A seed grows with no sound, but
a tree falls with a huge noise.
Destruction has noise, but creation
is quiet.”

Bharani Nakshatra is the lunar house that deals with the mysteriesof life and Death.The symbol of this Nakshatra is a Yoni, which means the female vagina,The ruling planet of Bharani is Shukracharia (Venus)The god of Bharani Nakshatra is the lord of death and justice, known as Yamaraja. Yamaraja is lord of the South. Yamaraja literally means the king of binding restraint. He carries the Pasa (noose) with which he binds and draws the soul out of the body at the appointed time.He is said to have been the first immortal being to have experienced death. As the first to taste death, he became the god of death and king of the ancestors. He is the first ancestor to have paved the way.The father of Yamaraja is Surya the Sun. It is of interest to note that the sun gets exulted in the constellation of Bharani.  That means, the best qualities of the sun, astrologically-speaking, are empowered by its exaltation here.Yamaraja has a twin sister named Yami and a brother named Shuni (Saturn)Just as in the case of Shuni, the animal associated with Yamaraja is the Crow.

Yamaraja, gives the Karmic results of one’s present actions in the future, whereas Shuni gives one the results of past actions in the present. We see that a Shuni (Saturn) has its debilitation point in Bharani Nakshatra. Interestingly, the stories point out that Shuni and his older brother Yamaraja do not get on very well.Debilitation of a planet, astrologically-speaking, is when it’s effect is weakened. Debilitation is the opposite of exultation. Consider also the exulted sun in Bharani.  Saturn and the Sun are inimical to each other. It was Shuni who caused his father to go into eclipse by a mere gaze.

The Justice of Yamaraja, is not a punishment as we might perhaps be apt to think of it. Justice in our world might seem like restriction and punishment, but justice for Yamaraj is reflection, reverberation and the law of effect.If for example, we drink a glass of castor oil, it will have a particular effect in the Southern Hemisphere of our being. It might not be pleasant, but it has nothing to do with punishment.

The Sacred Yoni of Life

And she will be born
To someone like you
What I left undone
She will certainly do
I know she is coming
And I know she will look
And that is the longing
And this is the hook.

L.Cohen – The Hills

Bharani means to bear weight. To bear a child, to take responsibility. The symbol of Bharani Nakshatra is a Yoni. The Yoni offers life into manifestation. This is more than just the feminine symbol of sex and reproduction. We know that the Yoni bears life into this wold physically, like a portal or doorway. On another octave, the spiritual principle of Yoni bears spiritual life. Yoni is a sacred word. It is a sacred doorway into existence. This sacred Yoni is called by many names. Some words for the sacred Yoni are some of the most derogatory of the language. It is worth pondering why the Yoni bears so many words of derogatory connotation. These are perhaps hidden words that are not part of pleasant society. Words like cunt, fanny, gash, pussy or fuck-hole are a sexualisation of the sacred door of the Yoni. They are words that carry a power, but they also depart with the full range of power and sacredness of the Yoni. These descriptions may certainly be an aspect of the Yoni, but they tie the energy of the Yoni to a minuscule corner and portion of its power. The power of the Yoni is infinite. It is the power of the sacred doorway. It is the doorway that carries spirit into manifestation.

A thought is conceived and an action is undertaken. That is energy graduating through the layers, from the psychic realm unto the physical.Let us take a practical example of this principle in action:
You may be at home with no ingredients in the Kitchen. You may conceive an idea to bake a cake. The application of your intention follows with a bit of shopping, stirring, pouring and mixing. The house soon is scented by the sweet fragrance of a baking cake, and then soon after, the cake stands grandly upon the table.The cake was conceived as a psychic conception, and after a creative process, has taken birth and is ready to eat. This is the principle of the womb of conception, and the Yoni of manifestation that Bharani presents.
The cake comes into manifestation through the psychic principle of Yoni.Baking may be fun, sweet, warm and tasty. But that is not all that it is. Baking can also involve getting burned.If we divorce the cake from the art of baking, then we get a store-bought one, rather than the birth and living artistry of our creative faculties.
So when considering the Yoni of Bharani, we are to look beyond the hole that carries the function of sex and childbirth. It is verily the channel of the creative womb. It carries creative force by pouring into manifestation.
Working with the star of Bharani is to work with and worship of the sacred Yoni.

Bharani Nakshatra is ruled by Shukracharia. This is Venus. To the Tantrics, he is the Guru of the Asuras. Shukra literally means the male seed essence. When the seed enters the Yoni, it has the potential to create life.These two energies of seed and Yoni, obviously work like that upon the physical plane. But this is the tangible aspect of the manifestation of a subtle phenomenon. The psychic, or even physical seed or Shukra meeting the Yoni, does not lead to instantaneous manifestation. First it must find the doorway in, it must grow, and then it must find the doorway out and into manifestation, just like the baby, or the cake baking. It is a process of gradual enlivening and manifestation. The store-bought cake, of course exists. But it’s not our conception, in the same way that a cake baked by our own hand is.Shukracharia is the deity who is in possession of a special Vidya (wisdom).Mritsanjeevani Vidya is the knowledge and magical power to bring the dead back to life. This is a point to meditate upon, as to why Shukracharia (Venus) should have this power to bring life to the dead. Meditate upon this and consider what it’s implications might be?

Bharani is autonomy. Its potential is conception and birth. In both a physical, and spiritual sense.Taking on a couple of fancy spiritual slogans and set of beliefs, is like going for a wholesale, fast-food, ready cut, ready packaged slice of cake. It may seem to taste fine, but it’s most probably void of Prana and life-force. When our spiritual vision is truly conceived from the sacred Yoni in our soul, then it is different to taking on a ‘store-bought-ideology’. To truly birth a spiritual view, the seed of effort must be ploughed into a fertile soil. This takes patience, work and the awareness of timing.Tapasya is the drive of the seed. It is planting in the garden of the soul. The sacred Yoni is the very garden of our soul.

️The Realm of Yamaraja

She’ll step on the path
She’ll see what I mean
My will cut in half
And freedom between
For less than a second
Our lives will collide
The endless suspended
The door open wide

L.Cohen – The Hills

The place between life and death is the realm of Yamaraja, his world is called Naraka. It is the place of spirits. Yamaraja is also known by the name Pretaraja, which means the king of ghosts.  The land of Yamaraja, Naraka, is often incorrectly described as hell. It is a realm where one looks into the mirror of the soul and justly has their shadow reflected back to them. There is a story of the sage known as Durvasa Muni who entered Naraka that highlights this principle. When Durvasa Muni entered Naraka, suddenly it was transformed to a paradise. It was transformed  because of the quality of his heart which that was full of love, sweetness and devotion.And so Naraka, is the mirror of truth. It is the real unveiled and revealed, it reflects everything, and that includes that which is hidden, buried and unresolved in our heart. Yamaraja is the grand lord of fairness and justice. He is a judge in this sense.

Yamaraja is the collecter of souls. Yamaraja means restraint and Raja implies king.He is the lord of justice. He is the well-timed restraint of destructive impulse, he is destiny. A story that demonstrates his restraint runs thus. Once he grew angry at his mother for expressing what he considered unjust behavior, and upon impulse, he went to kick her in a fit of fury.Realising what he was doing, Yamaraja restrained the swing of his foot in mid-air. Just has his name means, Yamaraja the king of restraint reigned-in his foot mid-swing, and so the fateful blow was negated.Yamaraja knew it was an Adharmic action to boot his mother with a full-pelt kick, and so he kept to the laws of Dharma and applied Ahimsa, which means non-violence.

Dharma will be considered in the section that follows the next, entitled ‘The Laws of Dharma’. Simply put, Dharma is wise action. ‘A’ as the prefix becomes a negator here, and so Adharma means unwise action.The kick was restrained but it was not without consequence. His mother saw that he had intended to kick her, and she in turn cursed his foot to rot away and be ridden with death, rotting with worms and all manner of creepy crawlies. For this reason, Yama is known as Sirnapada, which means the shriveled-up foot.And so Yamaraja had to accept the consequences of almost breaking his own codes of wise action. This was Yamaraja’s initiation into the realm of death. He got an even deeper insight and initiation into the nature of action and consequence by this.That Yamaraja was such a wise, fair and just being, is what gave him his position as the god of the law.The curse on his foot was negated by his father. And from the celestial spheres, the rotting flesh and worms fell upon the earth and brought death to our realm, which was said to have previously been a place of immortality.It is interesting  that the foot symbolism appears here. The foot is the body part connected to Bharani Nakshatra. It is the Southern-most portion of the body. Yamaraja rules the Southern direction.

The Indian custom of turning the feet of the dead towards the South is worth pondering in this respect. Yamaraja rules the land of the Southern world known as Naraka. It has many divisions described in the writings, sometimes it appears like a very complex map of inner realities, whereas in reality the principle of Naraka is rather straight forward. It is the souls mirror. It’s many divisions are reflections of the inner Karma of the soul. Naraka has many names, sometimes it is called Yamalokh or Yamapur… realm or city of Yamaraja  It is also known as Pitrilokh which translates at the realm of the ancestors. Its many sub-divisions have their own names, they are places where one enters the universe of their inner Karmic reality, somewhat like a psychic hall of mirrors.
Shuni (Saturn) is the brother of Yama. It is interesting to note that Shuni also has an affliction that makes him rather lame.

There are several stories of astrological significance that tell of how Shuni became lame. Let us briefly consider the story that fascinatingly correlates to the above story of kicking the mother. Shuni also went to kick his mother, but he did not restrain the kick like his brother Yamaraja had done. Shuni did actually kick his mother, and thus his foot was cursed, giving him a slow limping gate. He is in fact the slowest of the visible 9 planets of the Yogins.
There is another foot story that involves Yamaraja, that we will now consider as we travel further South, to the section directly below. This time it is Yamaraja who is the recipient of a kick.

Escaping Death & Killing Death

Let us look at the origin of Yamaraja, the lord of death.The father of Yamaraja is the sun who is known as Surya. When the Suns wife was pregnant with Yama, Surya gazed upon her, but his light was so bright that she had to close her eyes and shield herself from his burning gaze. The Sun took it as an insult to his pride, and in a fit of fiery rage, he cursed his wife to give birth to a child that would be the destroyer of humankind. That child was born as Yamaraja.And indeed Yamaraja became the great god of mortality.This is an important point in grasping the energy and secret of this Nakshatra. Consider, if you will, that Bharani rules the womb and the Yoni. The womb is the place of conception and the Yoni is the place of birth. While Yamaraja was still in the womb, he had the curse of the planetary solar-force thrust upon him.

That curse became Yamaraja’s destiny after he was born. This story points at what we discussed in the first section, of how the conception of a thing begins with an impulse… as in the wish to bake the cake. The energy and intent of the conception manifests in the birth and in the destiny.
As soon as a soul is born as a mortal upon the earth, the assistants of Yamaraja start to move closer. From the very first breath, death is marked, and Yamaraj’s attendants who are known as the Yamadutas, move ever closer.Upon the last breath, they take the soul to Yamalokh, which is the world of Yamaraja. There the soul goes to meet the grand king of Justice who is Yamaraja.

There are a few rare instances of souls escaping Yamaraja  one particular story concerns the allotted death of a young boy that echoed back upon Yamaraja as his very own death.

Markandeya Rishi was a sage who was destined to die at 16 years of age.

Markandeya was a Yogi who worshiped Shiva day and night. He is said to be the legendary author of Chandi Partt. This is a mantra dedicated to Durga.

When his 16th year arrived, the attendants of Yamaraja came to take him to their lord.

Markandeya held on tight to the stature of the Shiva lingam and prayed to live. So intense was his resolve that the Yamadhutas could not extricate him from his grip upon the Shiva Lingam.

Then Yamaraja himself came riding on his Buffalo with his noose in hand, ready to lasso the youth and take him to the realm of justice and truth. Normally the personal assistants who are known as the Yamadutas come to collect the soul. Yamaraj only comes on rare occasions when the soul is very powerful. The Yamadutas are the Pitris (ancestors) they are sometimes pictured as hideous frightening beings. Again, they are like the mirror of Naraka, they appear as a reflection of our soul. What is of note here is that Bharani Nakshatra holds the energies of ancestral-generational curses and misfortunes. We have already seen  in the narrative of the story, a surprising interplay of curses going on, the curse of the mother upon the son and the father also laying a curse upon the unborn fruit of the womb that was to ripen into Yama, the god of Bharani Nakshatra.

The death that Yamaraja brings, can also be taken to mean the opportunity to meet the death of cycles of generational and ancestral Karma.

On with the story, Yamaraja cast his noose towards the boy, but it lassoed both the boy and the Shivalingam. Yamaraja set off on his Buffalo and attempted to draw the boy into his realm.

Shiva was enraged by this behavior of Yamaraja, both for taking his devotee in his sacred place, and for lassoing the lingam in which Shiva himself lived.

And so Shiva appeared from the lingam and kicked Yamaraja with thunderous force on the chest. Yamaraja died and Markendeya was saved. The form of Shiva that killed Yamaraja in a rage is known as Kalanataka, which means the destroyer of time.

Things seemed fine for a time. But with Yamaraja the great lord of death out of action, people stopped to die and the earth began to sink from the weight into the waters. 

The universal gods pleaded with Shiva to restore cosmic order by bringing Yamaraja back to life. This was duly done on condition that Markandeya was out of his reach. And so life and death went on as usual once again.️

The River

The realm of Yama is separated from the earth by a river known as the Vaitarni. The river is said to change according to one’s Karma.For those who follow Dharma is is filled with elixir, for those who follow Adharma it becomes blood. It can become utterly noxious, filled with rotting flesh and excreta. The river Vaitarni mirrors one’s inner Karma accordingly. The toxins in ones soul are simply reflected in the river. It can be filled with hideously brutal underwater animals, and it can even burst into flame. The river to the Kingdom of Yamaraj reflects the truth of our soul back to us. On the way to the great lord of justice there is no avoidance of what is in our heart. There is no hiding behind actions and self created delusions, even our good intentions and Karma hides not the truth of the soul when on the way to Yama.It may be noted that the river Vaitarni is somewhat reminiscent of the River Styx of the Greek mysteries. 

The Sacred Yoni Of Death

I can’t make the hills
The system is shot
I’m living on pills
For which I thank God
My page was too white
My ink was too thin
The day wouldn’t write
What the night penciled in.

L.Cohen – The Hills

We have looked at the Yoni that bears us into life. The impulse that begins in the womb and expresses itself through the door of Yoni into manifestation.This is half of the power of the sacred Yoni.The other half of the Yoni is the doorway that takes us out of manifestation. Towards another level of being. This is not the Yoni of birth, but the Yoni of death.The dark mysterious vortex that draws the manifest back into itself.The physical Yoni takes the seed of life into itself, like a death from one life towards the growth of another.It is of note to consider that Shukracharia is the Yogic name for Venus, Shukra is the male seed and Charia means the deliverer.The seed of life is delivered into the Yoni of Bharani.This holds true on a multiplicity of levels.Yamaraja is the force that delivers the seed of our life into the Yoni of Bharani towards the womb of death, to the place where the forces of creation and death meet.His realm is just a hint beneath the surface. It is the universal sex chakra.

Yami and Yama

A story tells that Yamaraja had a sister who was named Yami. 
Yami and Yama were twins. Even though she was his sister, she had a kind of obsession with him sexually, and did her utmost to seduce him. Yami desired Yama, and just longed to be in sexual union with her brother. She tried and tried her best to allure, persuade and manipulate him in every way possible, but Yam was resolute in his refusal. His resolution in this and many other cases, to always adhere to what he thought was wise action, is what earned him the name Yamaraja.
When Yamaraja died at the hand, or rather foot of Shiva, – as the story in the last section above highlighted – his twin sister Yami could not stop weeping.She cried the river Yamuna into being, Yami is also called Yamuna Devi for this reason. She cried uncontrollably from an unrequited love for her brother.The gods could not stop her tears which threatened to drown the whole creation, and thus was created the night, so that Yami would stop crying and forget and go to sleep. Previous to her tears there was no night.
Yamaraj represents Dharma (which is the topic of the following section) and Yami represents its opposite of Adharma.

️The Laws of Dharma 

Yamaraja is Dharmaraja. Dharma is wise action, it is often interpreted as justice, righteousness and rules. Yama stands for the principles of wise action that he believes in. He is firm in Dharma. This is why he is appointed as the lord of justice and fair retribution.

Rather than a punisher or a mere dispenser of retribution, Yamaraja is a mirror of fair reflection, The stories that we have considered thus far of his life and death, point to his concern with action and its outcome and effect. He himself bridled his impulse of violence against his mother in a moment of rage. Yamaraja is possessed of the utmost resolve and restraint in the dramatic fires of sentiment and emotion, Yamaraja is dignity par excellence.
He is not a cruel punisher as he might be portrayed. Certainly powerful and imposing, riding on a mighty Buffalo while chanting the Mantra Hala Hala!… from out the underworld caverns of his powerful belly. Hala Hala! is the poison that only Shiva can drink. Hala Hala! is the ritual cry of the Tantric Yogin
Yamaraja is dark and imposing in the way he reflects that which we have not faced. He reveals the Karmic accounts that we have woven. His only punishment, if it can be called that at all, is the mirror of absolute justice and true reflection.

Yamaraja means rule and restraint, to tie, and to bind. The Yogic Yamas and Niyamas are the rules of, and the fruits of Dharma. They are the rules of action that do not weave one into complexities of Karma. We will look at the laws of Dharma in a list below.

The tenants of Yamaraja are the laws of Dharma. They are sometimes called the dont’s and the do’s. They can be given a multiplicity of meanings and are interpreted in various ways according to the essential meaning. This is a subject where each Yama and Niyama can be talked on extensively in the context of Yogic practices. For now let a very basic list suffice.

Some writing give 5 Yamas and Niyamas, while some give up to 10 or more. The Yamas are the rules of Dharma, the restraint. Yama actually means to rein something in. This is interesting because the power-object of Yamaraj is a noose, with which he lassos and reins in the soul when it’s time has come to go to Naraka. 

None can escape the noose of Yamaraja. But actually,  there was one character who did, as we have already seen above in the ‘escaping and killing death’ section. We could say that the Yamas are the rules of Dharma, while the Niyamas are the fruits of Dharma. 

Here they are listed below:


  1. Ahimsa – kindness, non-harming
  2. Satya – truth, honesty
  3. Asteya -not taking
  4. Bhramacharini – honour of the sacred sexual energy that we carry
  5. Aparigraha – cultivating contentment, studying discontent.
  6. Ksama – patience
  7. Dhriti – power of will
  8. Daya – compassion
  9. Arjava – sincerity
  10. Mitahara – measured


  1. Shucha – clarity
  2. Santosh – acceptance 
  3. Tapasya – effort
  4. Svadhyaya – introspection and study
  5. Ishvharapranidhana – focus on seeing reality
  6. Siddhanta Sravana – study of ancient teachings 
  7. Hri- healing the past by humility.
  8. Mati – reconciliation of opposites 
  9. Japa – Mantra chanting
  10. Huta- doing ritual

The Akashic Records 

Yamaraja rules the word of the departed from his throne which is known as Vicharabhu. The name of his throne is derived from the root vicharati, which means to move in all directions. His seat of power has the power to follow the soul into its deepest corners and most hidden recesses.Yamaraja reflects the souls Karma back to it. For this he has an important helping assistant with him. A kind of left hand-man at his side. This is Chitragupta. Chitragupta is the divine record keeper who sees everything, both hidden and revealed. Chitragupta assists Yamaraja in revealing the colours of the soul.In some ways, we could think of Chitragupta as the Akashic-Chronicle of all recorded events. Chitragupta keeps a register that records all things. This register is known as Agrasandhani.It records everything, from the most secret thoughts, to the most obvious actions.

The Name Chitragupta is worth looking at here. Chitra means luminescent, sparkling like a jewel, just like the Nakshatra of Chitra which represents the celestial jewel. Gupta means hidden, veiled, secret or dark. So, implicit in the name of Chitragupta, is the principle of seeing both the revealed and the hidden. And this is exactly his role. He assists Yamaraja in revealing all the corners of the souls who enter his after-life Domain. In Naraka, the medium and skin that covers the innermost self is stripped away, the clothing of the body and identifications with our actions is stripped bare.

The Eternal Cycle

It is to be remembered that Tantra is a most practical subject. We have here looked at some of the symbols of Bharani Nakshatra. Each principle that we have considered contains an inherent lesson and subject of meditation.By pondering upon symbols and principles of Bharani Nakshatra, we get acquainted with its secret. Every Nakshatra carries a deep life lesson to us. Reading a few facts about stars and gods is easily forgotten as a useless clutter of information if the heart is not involved to look deeper into the eternal symbols of destiny. If Bharani is a star that teaches anything, then it teaches creative and deep involvement with that which we are doing.
And so, the eternal cycle continues to dance between life and death. Out of one Yoni and back into another. Both life and death are conceived in these wombs of Bharani… and finds entrance or exit through the door-like Yoni that swings both ways.

To join the ritual
on Saturday the 31st of August 2021


Hara Ring


July 23, 2021

Uttara Ashadha Nakshatra

The Star of Impossible Victory

The full Moon of Saturday the 24th of July will be in the Nakshatra (lunar house) of Uttara-Ashadha. This will be the ritual day of Guru Purnima, which is a central day in the Tantric calendar of celebrating and honouring the teachers and elders who carry sacred wisdom.

This lunar junction of the Guru meets us annually when the Moon is in the star of Uttara Ashada. A position of power that encompasses the vast array of universal spiritual forces.
The other major Tantric festival that occurs when the Moon is in Uttara Ashadha, that is worth mentioning here, is Dusshera.
This is the 10th and concludent night of victory after the 9 nights of the Goddess in the Navaratri ritual festival.
The Navaratri ritual festival links together all aspects of the feminine mysteries, by traveling through a spiritual story that traces the path of the Goddess and her many expressions. This point of multiplicity is greatly poignant to the energy of Uttara Ashadha as we shall consider in the next section below.

This star signifies hard-earned victory and accomplishment.
Its victory is one that comes through drawing all psychic and physical forces into focus.

In our daily lives, we regularly apply this principle of gathering a multiplicity of forces together towards accomplishing an activity.
For example, the act of just going shopping, draws together many forces towards the single end of acquiring groceries.
It encompasses a vast array of activities… from finding our hat and coat and putting on our shoes, to navigating the many aisles of a supermarket, to gathering the right ingredients for the cake we are baking.
This is a mundane example of an accomplishment that many of us might take for granted.
It has elements of the accomplishment of Uttara Ashadha in that it draws together many elements and abilities. In the case of Uttara Ashadha, all the universal powers and skills are drawn together unto the attainment of the greatest of all victories… which is the revealing of the sacred heart.

Bringing All Things Together

Uttara Ashadha is sometimes called the star of victory and accomplishment, this is the wish and desire of this Star energy.
Ashadha is the urge and wish that focuses on the victory.

The god or gods that dwell on this Nakshatra are very interesting when considering the nature of the energy that this star carries to us.
The god of this star is Vishwadeva, who is not a singular being, but rather the collection of all goddesses and gods.
The Vishwadeva(s) is/are the collective of all the goddesses and the gods.
They are nourished by, and in turn nourish this star through the reflective lunar mediary of the Moon.

Vishwa literally means all and everything. Vishwadeva is the ultimate plurality of all sacred celestial beings. This multiplicity is the nature of the far-reaching force that is delivered by this Nakshatra.

It is also of note that some Puranic writings highlight a specific number celestial gods who are also called the Vishwadevas.
These 10 Vishwadeva deities and are the 10 qualities of Uttara Ashadha.

Vishwa is a word that implies multiplicity, interestingly, there is no one unanimous account of what the Vishwadeva really is. Some accounts single out a specific number of celestial deities, some accounts signify all deities, while some Mantras and accounts acknowledge all Devas and Asuras as coming under the title of Vishwadeva. What is unanimous in all accounts, is the idea of multiplicity and the conjunction of many forces.

And so, Vishwadeva is the god of this Nakshatra, as we have seen, it can be taken to mean the conglomerate of all goddesses and gods and even Asuras, but it can also be taken to mean 10 specific deities who carry the traits of Uttara Ashadha.
Sometimes an additional 2 Vishwadeva deities are also given, but we will highlight 10 for now.

Let us list the qualities of the wisdom of this Nakshatra, by naming the 10 Vishwadeva’s, and consider the 10 wisdom qualities that the Nakshatra of Uttara Ashadha represents and transports.


1) Vasu is fullness, expansiveness, illumination and brightness. This is wisdom in a broad sense. Wisdom that encompasses all things. It is a wisdom that is both elevated in metaphysical principles, but equally, it is a wisdom that is able to articulate on a street level. A wisdom that is able to touch and make contact with any arena of life. This is a totally non-exclusive quality to put it in a nutshell.


2) Satya is truth and reality without sentiment or bias or restriction to any singular perspective.
Again, it carries the fullness and broadness of the previously highlighted Vasu quality. And because of this vast perspective, it is able to see the wide picture of reality in which all perspectives are at once acknowledged. This is the quality of not leaning towards any particular side. It is a quality of not escaping reality through any drama, distortion or sentiment.


3) Kratu is focus of intention and will. This is the measured expertise that knows how to apply just the right amount of exertion. It is the focus that has forbearance and a deep intelligence, measurement and strategy. Kratu feeds its own certainty. Once it has considered the best angle of action and is certain about its course, it will approach its action with the quality of a charging elephant that will attempt to go through everything with unwavering persistence and urge.


4) Daksha is skill, it is geometry and dexterity, it is a subtle creative vision that is able to link all things together into inner and outer harmonious forms. This is the skill of ritual, the ability to cloth metaphysical realities in tangible form. This is the skill of Tantra.


5) Kaala is Time. It is the power to have the awareness of the reality of time in the phenomenal world, and at the ‘same-time’ it is the quality and power to be able to go to that plane of reality which is beyond the constraints of time.
Interestingly, Kala pronounced with the shortly accentuated ‘A’, means artistry, an artistry with a love for carefully detailed beauty. This is the artistry that comes from timing. Timing and rhythm are like the forms in which beauty is distilled, refined and expressed.


6) Kaama is desire, it is the urge of the soul, the unstoppable wish and hope (remember that Asha in Ashadha means urge and hope) Dha means wealth, this is the victory of desire. Not necessarily the fulfillment of desire as one is apt to think. But rather, to be possessed of the secret urge is the wealth itself here.
Kaama is the root power behind all desire, it is the spiritual longing and wanderlust that underlies all desires. Pure desire, if you will.


7) Dhrti is concentrated ruthless firmness and focus, this is the focused shot of the arrow. It is the ability to hold to a thing with full psychic involvement and endurance and patience. This is a quality of a healer and a Tantric magician, who focuses upon a thing and therefore manifests it, through their sheer Shakti of focused power.


8) Kuru is ancestral power, it is the strong relation to the realm of the ancestors. It is a spiritual sensitivity that at once lives in the manifest world, while at the same time being aware of the subtle movements of the inner planes. Kuru is to see the multi-dimensional interrelationship between matter and ghost, or spirit and body. The word Kuru is derived from the root Kri, which means to do or to act. Our actions carry power when they are related to our roots. When the acknowledgment of our roots and heritage informs our action, then it is truly potent.
Kuru then is connected to actions of healing ancestral imprints, so as to potentise and bring healing depth to our action.


9) Pururavas is abundance, broadness and generosity. The generosity of Pururavas is the kind that comes from a trust in the invanquishable and self-perpetuating well-spring of the heart. Pura means fullness it is to be remembered. The quality of Pururavas is that it’s not afraid to take risks or to lose. There is a deep trust that beneath any apparent loss and failure, is am inexhaustible wellspring of reserve life power. Pururavas is on the way to Madravas because of this fearlessness and trust in life force.
Generosity is not just a saintly virtue. It is a natural quality of the wisdom principle of ever-fulfilling a inexhaustible force. When we move away from the inexhaustible force of nature, we simply become exhausted. Pururavas is natural power that is effective because it burns like a steady flame, we could liken this to the endurance of an elephant that knows deeply about the wise handling and distribution of its life-force.


10) Madravas is natural power and joy of heart. It is accomplishment and the celebration of the freedom of the sacred heart. We are here dealing with a joy that is not dependent on any condition or form of entertainment. It is an inner natural power of spiritual essence that is not obscured by any hint of Ahamkara

So as we have now seen, The Nakshatra of Uttara Ashadha draws from a wide array of universal forces.
This star brings together the collection of a vast array of attributes. Let us say that it is the star that possesses the celestial toolbox, and has access to the broadest and most diverse range of spiritual instruments.

The Celestial Tusks

The two twin stars of Ashadha are represented by Yogins as the elephant tusks of the celestial realm.
Uttara Ashadha is the matured elephant power that represents the full potential of grounded celestial forces in an earthly sense.
The Yogins connect to, and invoke the penetrating force these dual astral-tusk-points of energy, in rituals where Uttara Ashadha is worked with.

Ganesh is the grand Chakravatin, which means he is the earthly foundation structure upon which all the other Chakra spin.
Ganesh and all creatures that have tusks are connected to Uttara Ashadha Nakshatra. The tusk obtrudes beyond the sphere of the body towards the sphere of vision… in a similar way that horns do.

This is the star of focused victory. A focus sharply focused with a penetrating sharp tusk like urge of vision.
The tusk of Uttara Ashadha points – through its focus – towards a victory to which it is very close. Remember Uttara means mature, and the wise force of maturity is implicit here.
This star has the celestial blessings of its ruling deity, which as we have seen, is in fact the collective of all goddesses and gods, or alternatively, are highlighted as a group of the 10 qualities of wisdom.
This is indeed a heavy Nakshatra, possessed of the force of wisdom, we could say the heaviest.
It is like the weight of Ganesh, the elephant god who sits at the very foundation of the Chakras. It is the very weight of deep Saturnian wisdom in the cavern of the soul.

Uttara Ashadha is the focus of celestial forces into the vessels of earthly being. It deals with bringing together the most celestial with the most earthly, as we shall soon see in the next section.

The symbol of this lunar house is a tusk. Indeed, the energy that this Nakhatra imparts has the ability to bring us the tenacity of teeth and bone. The elephant and other tenacious creatures with tusks are linked to this Nakshatra.

Uttara-Ashadha is often considered to be the 21st Nakshatra. This is interesting when we consider that the number 21 is sacred to the Ganesh, the god with the elephant head.
The number 21 further links Ganesh to Nakshatra.
Ganesh rituals are well-known to involve 21 offerings along with the chanting of his 21 names. Ganesh as well as many other deities – as we shall see – are linked to this Nakshatra.

Dual singularity of Focus

Big obstacles are overcome by focused force and endurance – is the teaching of this Nakshatra, focus being the operative word here.
Uttara Ashadha is ruled by Surya (the Sun) and the quality of this Nakshatra is the transmission of powerful burning solar force through the mirror of the Moon.
Where an object meets the sun, there is a shadow, to take away the shadow is to take away the object.
Uttara Ashadha is certainly singularity of focus, but the paradox is that it’s singularity is aware of the multi-layered dualities of life. The dualities of life can be perceived as a singularity, for example, when the principle of sun and shadow are taken together. Sun and shadow are a unity when the object is in the picture, take away the object, and we have duality and endless metaphysical abstractions only. The object can’t be taken out of the picture if reality is valued.
The two tusks of the elephant bring together dualities by the space of life between them.

In the next concludent section of this text, we shall take a look at a spiritually cosmological teaching story that highlights the dualities of the tusk that saved the earth.

Uttara means mature and Ashadha implies a victory that is eternal.
But more accurately, it is the desire and urge to reach that victory that this star presents.
This star moves one towards victories by its power of enduring focus and discipline. It brings all seeming dualities and forces together in a single point. Or let us rather say, two unified points, like the tusks of an elephant.

The wisdom that Uttara Ashadha Nakshatra brings to us, is a wisdom that is aware of the dualities of light and shadow upon all its octaves.
To understand and know a thing comes through understanding and knowing it’s opposite.
To truly see the revealed, is to acknowledge and be aware of the unrevealed half.

Focus is a quality where all our powers are beamed in one direction and one direction alone.
Tantra is but the art and science of focus, ritual is focus.
Extraneous expenditure of our life forces must be reigned in and harnessed towards the most needed point in the path of our destiny, if we are to receive the teaching of Uttara Ashadha.

Uttara-Ashadha gives the teaching of enduring focus.
As already outlined, its focus is singular and unwavering – this is the quality of the Guru.
The Guru is an uncompromising force that endures in the vision for the very deep and enduring truths.
Guru Purnima is an age-old festival Uttara Ashadha Moon festival that honours the Guru.

In a world of beliefs opinions, likes, dislikes, dualistic information and endless modes of self-expression of all of these, we risk the very opposite of what Uttara-Ashadha wishes to show us.
If we spread our energies wide and thin, we risk dispersing our psychic spiritual power. But at the opposite spectrum, if we gather our forces together in concentrated unity and singularity of urge, we bring all the celestial forces to one point. This is the secret of communing with Vishwadeva.
It means to open ourselves to all the forces by maintaining a seat of power.
Like being in an observatory or a planetarium that sees all the multitudinous revolutions of realities orbiting the spirit that we are.

Uttara-Ashadha is the very opposite of light dispersing action. Guru is an adjective that means heavy, who is just like the elephant energy, that is the prominent earthly expression of the weight of this Nakshatra.
Just like the weight of memory possessed by the Elephant that never forgets… Uttara Ashadha gives power to mind and memory.
Heavy weighted enduring focus is given to us when the full Moon is in this lunar house.
When the full Moon meets this Nakshatra, it presents the gift of its qualities to us on earth.
We will open up in ritual to invoke and receive the lunar emanations of Uttara Ashadha Nakshatra.

The Power of the Earthly Tusk

Varaha is the Boar headed earthly deity of mighty tusk, who carries the lesson of Uttara Ashada very well, so let us consider it here.

The story of Varaha tells of how he saved the earth from drowning in the subterranean waters when the Asuric forces attacked and threatened to ruin the earth.
Varaha and Bhumi (Earth Goddess) are lovers, together they birthed Mangala (Mars). Varaha saved Bhumi from drowning in the subterranean waters by lifting her in his tusks.
The impossible concentration it took Varaha to lift the earth out of the enveloping waters in which she was drowning, required the exclusion of all else but the matter at hand.
Or rather we could say, the matter at tusk – for Varaha hooked the earth in his tusks and carried her to safety.

Varaha presides over the Dhatu (physical element) of bone – this is the most hard of the Dhatus, and symbolises strength solidity of focus.
Varaha, in saving the earth, drew together all skills and abilities towards the single end.
The tusks are sharp and – being two – represent the dualistic forces concentrated into one action to achieve the victory that it is our Karma to accomplish.
What that victory is, is a personal journey to discover.
The discovery and realisation of our destiny requires dualistic forces to come together. This is the focus of Varaha, he is a most mighty deity… mighty of focus.

Uttara-Ashadha can be seen to signify the imminent victory of the very real and deep pressing matters. Its imminent victory comes through the application and uniting together of all extraneous forces and subtle energies.
Its victory can’t be assumed without endurance and determined clarity of focus.
This endurance and determined clarity of focus is a Saturnian quality.

The story of Varaha saving the earth from drowning in the waters holds a Saturnian code within it. The Saturn ruled constellation of Capricorn is known as Makara to the Yogins. This is the constellation of the crocodile, who gives us the wisdom and power to articulate deeply between the dualities of its realms of mastery – water and earth.
Just as the mighty and fearlessly focused Varaha and Bhumi reveal the initiation of earth and water through the power of the tusk.

Hara Ring

If you would like to join the ritual



July 13, 2021

The Hand of Destiny

Hasta literally translates as Hand.
The Nakshatra of Hasta is situated in the constellation of Virgo. This Lunar house is concerned with skill, dexterity and balance.
If we look deeper behind the symbolism of Hasta, we see into the nature of the skill that this star imparts to us. The skill of Hasta Nakshatra is concerned with transition and the balancing force of handing one thing over to another.
The ruling planet of Hasta Nakshatra is the Moon and the ruling deity is Savitr the sun god. These are explicitly two opposites. But there is yet another duality that works in unison when we consider the Sun god Savitr.
Savitr is of beautiful golden hands, he hands over the power that enlivens the sun at sunrise.
Savitr is the name that the Yogins give to the sun after sunset and before sunrise… the midnight sun if you will.
Savitr is the one who illuminates and empowers the rising sun from dawn to dusk. At each dawn, Savitr hands over the celestial-stage unto Surya. They can be thought of as twins that bring us the ebb and flow of sunrise and sunset.


The Initiation of Hasta

The theme of halves is a central key to seeing into the nature of Hasta Nakshatra. We have seen already how the ruling deity is Savitr of the illuming force behind the Sun, and we have seen that the ruling Planet of Hasta Nakshatra is the Moon.

These two opposite energies are instrumental in giving Hasta the energy of moving between extremes. The skill that the Hasta star constellation brings us is its ability to see across the whole range of the spectrum, and see into the nature of halves.

Remember that we are dealing here with the star of utmost dexterity.

Speaking of halves, we know that the Moon has two halves, the rising and falling, dark and light halves. Hasta is the hand that can reach to the depths as well as to the pinnacle. Hasta carries the energy of both the Full Moon and the Dark Moon. Hasta is the hand that can expand and dilate. It is the extreme of skill in all directions.

When we peer a little deeper, we see more, indeed, Savitr, the god who dwells in this star constellation, confers vision and insight. He is the enlivening illuminator.

The constellation of Hasta makes us aware of details. Working with Hasta Nakshatra brings to us the vision of the minute things that we might easily overlook.

The smallest details hold the deepest keys, for the smallest details are the things we don’t easily see if we are out of rhythm.

Hasta brings us the fascination and beauty of details, details might be seen as something tedious, boring and unimportant. This attitude towards finery comes when we ourselves have lost touch with nature’s rhythm. The slapdash approach is the path with no heart. If we look closely, we will see that the disregard of details is at the root of all ills.

How to come to the beauty and magic of details becomes the question here?

A thorough examination of things is the key to psychic and spiritual health.

The beauty of awakening Hasta is that we need no special equipment or measures.

We could go so far as to say we require no spiritual practice or intelligently philosophical insight, even no spiritual teaching. Details themselves become the Teacher and the teaching when we align to them.

Hasta is an internal spiritual energy of simply noticing and caring for the details.

Hasta has a secret teaching:

If we address what might seem like insignificant details, the secrets of wisdom open up. It takes power, patience and the acknowledgment of a steady and regular rhythm, to arrive at the wisdom of all wisdom. Hasta is the helping hand to the gateway of wisdom.

Just like the ruling planet of Hasta that is the very epitome of steady rhythm. If we consider the Moon clock as the ancients did, we come to intuition… we come to wisdom.

By simply noticing the movements of Lunar energy and the effect they have upon us, we learn more than any astro texts can ever tell us. When we ignore the law of rhythm, we risk physical and psychic ruin.

The Ancient Yogic science put the Moon in the position of the greatest of all lovers. The Moons beloveds are the 27 star sisters known as the Nakshatra’s. As the Moon moves through the constellations, each are payed a visit under the law of celestial rhythm.

There is a point that is brought out here. The Moon does not alter his speed, but he appears to spend a longer time with the star sister of Rohini Nakshatra, thereby breaking rhythm. Rohini is said to be his favorite star sister who gets an extended stay of attention lavished upon her.

This imbalance evokes controversy, jealousy and scandal with dire consequences to the Moon.

Why the Moon spends more time with Rohini is an eternal mystery that makes no sense when the degrees of distance are the same for all the star sisters, and the lunar speed remains constant. It has been explained by astro physics as something to do with a gravitational incline. Looking deeper into this, with the detail and insight of Hasta, might be a worthy study to undertake.

If we are out of sorts physically or psychically, remedies and practices are certainly good to pursue, but a deeper remedy would be to align to the teaching of steady Moon-like rhythm.

The moon absorbs everything, it misses nothing, it takes in and responds to every single detail. To be like the Moon is a profound teaching that slows us down and aligns us to the rhythm of nature. Anything that goes against nature is sickness.

If we are to open to the Initiation of Hasta, we are brought to question the structures and rhythms of ourselves, and the things that we are aligning to.


Hasta Mudra – Hand Gestures

The hand tells us many things. Maybe the hand tells it all.
Cross my palm with silver!

By observing the way we use the hands and the considering the underlying energy behind their motions, we get many deep insights into our relationship to the energy of Hasta.
The hands can be gracious, generous and open, or conversely they can be knotted, closed and unyielding.

When we hear the word Mudra, we are apt to think of hand gestures. The branch of Mudra that relates to hand gestures is called Hasta Mudra, and involves working with the hands to effect psycho/physical reactions in ourselves.

Sometimes we grip the hands, sometimes we bite the fingernails, or make gestures habitually. By becoming conscious of these sometimes unconscious processes, we can awaken to the unconscious implications behind our doings.

The inner psychic life is reflected in the day to day movements that we make with the hands. The Yogins have found that by consciously observing our hand gestures in each moment, we can gain insight into our soul. By such insights, we may begin to unknot and heal automatic psychic patterns, that are based on response to trauma.

Hand gestures carry immense power. By working with the nerve junctions in the hand, one can awaken many latent areas of the soul.
The ruling deity of Hasta Nakshatra – as we have seen – is Savitr. One of his names is Hiranyahasta, which translates as the golden handed one.
His touch illuminates. He is the base power behind the revealed part of life. His touch causes Surya to become enlivened with the power to enlighten the day.
Working with the hands is a movement towards the base power behind the curtain of the manifest.


The Dark Power Behind the Sun

Savitr is the presiding deity of Hasta Nakshatra. He is described as having beautiful skillful hands that transfer power to the sun at each sunrise. The famous Gayatri Mantra sings his praises. The word Demahi occurs in the Gayatri Mantra and presents a central teaching of Hasta Nakshatra, and is a central principle on the Yogic path. Demahi means to be aware and look deeply at things.
Skill comes from the ability to see deeply. To notice details is too care for depth. To care for depth is wisdom.
We explored the principle of Demahi, in the second section above entitled Hasta Mudra when we considered observing the underlying energy behind the manifest motion of the hands. Demahi is the focus of looking behind deeper beyond the revealed.
Demahi is the penetrative insight that concentrates energy toward looking into the nature of things. Demahi is the honouring of the foundation and base of the manifest. Demahi is to look into the causes and roots of manifest effects and phenomena. Demahi is Savitr.

In the art of awareness, Hasta plays a primary role.

This is the star of revealing. This is the star of vision. This is the star of insight and applied care to the fine details of existence.

The ruling deity Savitr, is the one who enlivens the sun.

Savitr is described often as the sun, and he is, but he is the sun after it sets until sunrise, at dawn Savitr touches Surya and causes him to rise.

Savitr is described as having the golden hand of Hasta, Hiranyahasta. When Savitr touches the sun of the day time who is called Surya, he enlivens him to fulfill his task of revealing and spreading rays of light. Savitr.

Savitr is the birther who gives conscious vision.

In the night, Savitr is with the Moon. The Moon is the ruling planet of Hasta and has an ever changing face. Savitr is devoted to the faces of the Moon, he studies and knows intimately, every single detail of the lunar sway. To fully form a relationship with the energy of Hasta, our vision must be honed to catch the underlying movements and truth’s that surround us. The Moon is a great teacher of rhythm that is ever there to observe and learn from. Savitr is the natural power of awareness that sees and feels all of the Lunar movements. Savitr brings us Demahi.

The Yogins have a detailed system of wisdom that names and honours every face of the Moon. There has endless goddesses and gods that tell the stories of the detailed celestial movements. These celestial movements told in the form of stories and symbols are pointers towards the forms, stories and movements within us.

The celestial outer spheres are directly related to our inner astral body. The Karmas in human astral body are effected and swayed by the astral movements in space.

Yogic ritual is a way to align to these movements. We could say that Yogic ritual involves opening the psychic ear and eye to listen to, and look upon the starry secrets.

And so for the Yogin, the stars and their lessons are not outer abstractions, they are the intimate inner realms of our psyche. Our inner life manifests into our outer life.

What we are seeing and living thorough, is the reflection of an inner psychic configuration, or constellation, if you will.


Corvus, the Crow Constellation 

Corvus is the star constellation of Hasta Nakshatra, it is Latin for Crow.

Let us take a little look at the Crow, considering that in Tantric vision, it is the emissary of Saturn. Corvus means crow and is the Greek name given to the 5 starred constellation of Hasta.
The crow is also the animal of Hasta Nakshatra in the far older Indian system of Astrology.

The Ancient Greek mythology has some relevant parallels with the the Yogic perspective that are worth considering. It was Apollo who in a fit of rage, threw the crow into the sky. He grasped the crow in his hand and flung him into the starry firmament.
The crow was meant to fill a chalice with water for Apollo, but he was delayed because he was tempted by the serpent Hydra to take a break and feast on a fig tree.
When Apollo questioned the crow as to why he was so late, the crow did not reveal the reason. Apollo is a sun god who sees past present and future. And feeling deceived by the crow, he flung him along with the Hydra and Chalice into the stars for eternity. We see the the Hydra, Chalice and Corvus in the picture below.
Take note of the interesting parallel here, that Savitr the Sun god is the god of Hasta, Apollo is also a sun god.

We once again find the symbol of opposites in relation to constellation that we are considering at present. We see that the Greek Apollo is the twin brother of Artemis. His sister is the famously sworn Virgin of the Greek mysteries. Apollo on the other hand is rather a romancer. His passions and romantic conquests with both genders, more than makes up for his twin sisters chastity. The one twin, being sworn to maidenhood, and the other, opening the doors of excess.

Artemis denied the most prized of lovers, while Apollo would cunningly and obsessively keep watch on his love affairs.

The story tells that the Crow was once white. Apollo’s fiery rage turned its feathers black after he had sent the crow to spy on his latest woo.

When Apollo heard that she was getting up to that which he did not want to hear about, his rage found expression against the crow and burned his formerly white feathers to a crisp.

Later in another fit of rage, Apollo was to fling the crow into the stars as the constellation of Corvus. Which as we have seen, is the Hasta Nakshatra of the Yogins.

The 5 stars of Hasta are related to the five fingers. The constellation also resembles the shape of palm. The Hasta constellation is the constellation of meticulous detail and skill.
The hand is the medium through which one touches life.
It of course represents the physical hand, symbolically the hand is here taken to mean the inner sense of skill, dexterity and attention to detail.

The Crow is known for its intelligence and wit. Let us next consider this in story form, in the well known old folktale called of the Crow and the Pitcher.
It is worth a retelling here, as it beautifully highlights some central themes of Hasta.


Story Time

The Crow and the Pitcher

Once upon a time,

on a hot summers day, a thirsty crow was scouring the land for a drink of water.

There was a drought and the river had dried up.

His thrust was torturous, but there was no water to be found anywhere.

His beady black eye caught something glimmering in the distance.

He thought that it must be a little pool of water, and so be dove down at the speed of black lightening to reach it.

He discovered that it was a pitcher of water and not a puddle shimmering in the blazing sunlight.

When the Crow peered inside, he saw that it was more than half full with water that glistened freshly.

The problem was that the neck of the pitcher was too thin for his beak to enter in and drink from it.

He tried to push the pitcher over, but it was too heavy for him to move.

He tried to fly at it full speed in the hope to knock it over and thus get the water to pour out.

He even tried to hurl stones at it, in the hope to smash it.

His efforts came to no effect.

Feeling somewhat defeated and deathly thirsty. He sat down quietly, and pondered ways that he could get a drink out of it.

After a moments meditation, the insight came to him. (Demahi in action)

He started gathering little pebbles that would fit through the narrow neck of the pitcher.

Carefully he put them into the pitcher, one by one by one.

It took a long time and was a work of care and patience. A stone that was too big risked getting stuck and blocking the water in pitcher from ever being reached.

After what seemed like an interminable infinity, the water had risen and the crow happily had a drink.

This story highlights the skill and patience of the hand (or in this case the beak), to accomplish a task. The crow is a very intelligent creature that is placed as the animal of Hasta Nakshatra, for its dexterity and skill of mind.

More than this, for the Tantric, the Crow is a creature that can fly between the worlds of darkness and light.

Notice again, how the opposites are at play again in Hasta, this time in the Crow.

Hasta is ruled by the Moon and is presided over by the deity Savitr, the one who hands the initiating spark to the rising sun. We can see a parallel between hasta and the crow in how the both articulate between the realms of the seen and the unseen.


The Unconscious becoming Conscious

When we start to understand the energy of the star constellations, (or better expressed, stand under starlight), we begin to see the themes that the star constellations represent in all areas of our lives.

Every life situation that we might be involved in, can be thought of as a constellation.

Every level of the psyche, every action and situation can be comprehended as a reflection of an astral energy principle.

Everything from a pleasant stroll in the park on a Saturday afternoon, to a family feud on a Sunday, can be seen as an energy constellation.

If we work and apply ourselves to becoming conscious of underlying causes, we can begin to see the star lessons and their astral teachings reflected in all the scenarios of our lives.

We can see the reflection of the star principles everywhere. They are manifest in thoughts, feelings, behaviors, ambience, music, films, stories, clothing and food, to name but a few places where reflections are manifest.

Things that are unconscious become conscious when pondered with a reference point to the stars and their lessons. For example, if we do a job poorly and have carelessly rushed through it, then we have not aligned to the detail of the energy of Hasta.

By recognising that we in an energy configuration contrary to Hasta, can make us conscious of where we are and what we are doing with our energy.

To learn the wonder and beauty of detail, is to resolve something deep in our soul. If details pass us by, we are out of step with the the potency of our awareness.

A life rhythm that misses details is one that is locked in a destruction hyper-rhythm. Hasta is a study of ‘the art of detailed skill and dexterity’ of both spirit and hand.


Hasta Nakshatra Symbols in a story

Let us take a read of a story with reference to the themes of Hasta Nakshatra. We are going to consider a fairy tale written by Hermann Hesse in 1916.

Firstly, let us consider how the story is full of meticulous details, this is rather typical of Hesse’s style, but in this short story the vast explosion of tiny details are potently compressed. Though it is a short story, it could easily become a book.

Detail and skill is primarily the energy of Hasta, as we have seen in the previous text about Hasta Nakshatra. This story is certainly very skillfully put together. The way the narrative of the many stories within the story are bound together with such dexterity, is very much an example of Hasta Nakshatra in action.

Hasta concerns very much how we apply the effort and skill to get the wish of our destiny. 

The story below tells of the old bachelor or who grasps poorly to his half coin. He is a perfect example of the destructive side of Hasta Nakshatra, the bachelor has a closed grip that keeps him in a spirit of inner and outer poverty. 

The girl with the elegant hands in the story, is the perfect symbol of the potential of Hasta Nakshatra. She is an independent figure who is diametrically opposite to the bachelor. Children love her, and she weaves together stories and magic for them by the power of her beautiful hands. 

Hasta means hand and she is indeed imbued with the full power of the hand. Creating fairytales and spreading joy all around, with little regard for riches or relation. She lives in the power of her destiny.

She is a good figure to compare ourselves too and ask of ourselves… what are we creating and spreading all around?

Do we spread the magic and skill of Hasta?

Or are we caught in cycles of drama and stress?

Sometimes we choose the path of stress and loudness, to escape the deeper lessons and learnings. Some details are only received in the quietude where the dust settles.

The story tells of the musician hidden in his attic with his friend. The creative dexterity to wield a musical instrument is an art of Hasta. It is the refinement of the soul and the hand in a unified marriage. The friend of the musician who listens deeply, is in a realm of appreciation art and finery. We could say that he is an introverted Hasta power, his wish is just to receive the music and let it’s beauty, finery and detail imbue his soul. His love of the art of music is so pronounced, that he wishes to just become a mountain and observe everything. These two together hidden away in the attic, oblivious to the happenings in the town, very well represent the active and receptive sides of Hasta Nakshatra.

The stranger in the story who grants the wishes of destiny, can be seen as the amplifier of power of our efforts. Hasta Nakshatra is the hand of destiny. We do things with the psychic and physical hand. Every step is a step towards our destiny. Sometimes the steps go round and round, sometimes the step is a standstill. What we work for doesn’t always manifest directly. Learning a subject takes time. Sometimes we look into the mirror of destiny and see what we are creating with the energy of the spiritual hand.

Where do we put our focus and our work?

More important, how do we put it?

The hand that puts the food into the mouth is far more important than the content of the spoon.

Even great good actions can be an escape from our destiny. Good actions such as helping are good indeed. But sometimes they can be a side step from our destiny. They can be a way that we avoid to face ourselves. In helping others, it is possible that we can deflect the focus from helping ourselves where we most need it. Hasta is the star of noticing the most subtle details and movements of our spiritual and physical hand. Hasta is the vision to see deep beneath our actions, unto the motivating causes. Good actions for example, can be a way we might habitually take to redeem ourselves of the anguish of an energy configuration of guilt. Hasta brings awareness to look at that which we do and why we do it. Some of the things that we continue to repeat can be addictions. Addictions are not always to unhealthy things like sweets. Addictions can also be to noble behaviors and good actions.

If there is a drive in us, then there is a deep place of investigation waiting for us. Hasta is the energy of finding the details of why we do what we do. We might grow up in a culture that presents having a drive and a passion as a good thing. Hasta is the penetrating energy to question this and other such unquestioned details. When we have not opened to the Hasta energy principle of subtle psychic dexterity of vision, then we never pause to question the motivation of our actions.

Our actions reflect back to us and create the results of our lives. It is of note to consider that in the story that follows below, the wish fulfilling stranger stood before a mirror stand.

Everyone’s destiny was being reflected back in their wishes. Some wanted sausages and they got sausages.

As the wish fulfilling stranger comes to town, he sees every small detail. He sees the hedge that the bachelor had been trimming and how it had started with care and ended in a rush. Such an acute vision as the stranger has, is the perfect principle of Hasta awareness.

This Story that now follows, was written by Hermann Hesse in 1916. It encompasses many themes that are pertinent to understanding Hasta Nakshatra. 

Rather, it might be better to say, that this story encompasses many themes that are pertinent to standing under the starry shine of Hasta Nakshatra. 

With all the insights we gleaned from the text above, we will now look at Hasta Nakshatra through the context of this following story by Hermann Hesse.

Hara Ring

The Fairytale of Faldum
By Herman Hesse

The road leading to the city of Faldum ran right through some hills, and here and there along the way it was lined with woods, large green pastures, and wheat fields. The closer it came to the city, the more it passed barns, dairy farms, gardens, and country houses. The sea was too far away to be seen, and the world seemed to consist of nothing but small hills, pretty valleys, meadows, woods, farmlands, and orchards. It was a country that had plenty of fruit and wood, milk and meat, apples and nuts. The villages were very attractive and clean, and the people were on the whole upright and diligent and did not like to undertake dangerous or disturbing projects. They felt satisfied if they could keep up with their neighbors and if their neighbors kept up with them. That was how life was in Faldum, and most countries in the world are the same, as long as unusual things do not happen.

On this morning, the pretty road that led to Faldum (the surrounding country had the same name) had become extremely lively since the cock first crowed. It bustled with people and wagons and carriages just as it did once each year, for the city held its great fair that day. Indeed, every single farmer and farmer’s wife, every single master, apprentice, and farmhand, every single maiden and lad within twenty miles of the city had been thinking of the great fair for weeks and dreaming of visiting it. Of course, not everyone could go. Someone had to stay behind and look after the animals and small children, the sick and the old, and once lots were drawn, the person who lost had to remain at home and take care of house and farm. For those people, it seemed that almost a year of their lives had been futile, and everything was spoiled for them, including the beautiful sun, which stood warm and jubilant in the blue sky of late summer starting early that morning.

The women and young girls carried small baskets on their arms as they walked, and the young men with clean-shaven cheeks had pink carnations and asters in their lapels. Everyone was clad in neat Sunday clothes, and the schoolgirls had carefully braided their hair, which was still wet and sparkling in the sunshine. Those people riding in carriages wore flowers or had little red ribbons tied to the handle of the whips, and whoever could afford it had decorated the harness of his horses with brightly polished brass disks that hung along the wide decorative leather down to their legs. Rack wagons came by, whose green roofs of beech branches were bent in arches over the seats, and beneath the roofs people sat crowded together with children or baskets on their laps, most of them singing loudly in a chorus. Every now and then a wagon appeared among the others that was especially colorful, decorated with flags and paper flowers, red and blue and white, mixed in with the green leaves of the beech branches. Village music resounded bombastically from this wagon, and through the branches one could see the gold horns and trumpets gleaming softly and exquisitely in the half shadows. Little children who had been obliged to walk since sunrise began to weep from exhaustion and were comforted by their perspiring mothers. Many of them were given lifts by kind and generous drivers. An old woman was pushing twins in a carriage, both asleep, and between the sleeping children’s heads lay two dolls, beautifully dressed and combed with cheeks just as round and red as those of the babies.

Those people who lived along the way but were not going to the fair this day had an entertaining morning because there was so much to see. Yet only a very few did stay at home. A ten-year-old boy sitting on the garden stairs wept because he had to remain with his grandmother. But after he sat and cried for what he thought was a sufficient amount of time, he leaped onto the road and joined some village boys as they came marching by.

Not far from there lived an old bachelor who wanted nothing to do with the fair because he did not like to spend his money. He intended to spend the day trimming the high hawthorn hedge around his garden while everyone was away celebrating, for it needed cutting. As soon as the morning dew began to evaporate, he went cheerfully about his work with his big hedge shears. But after working just about an hour, he stopped and retreated angrily into his house, for each and every boy who had come by, either on foot or on horseback, had gazed in astonishment at the man cutting the hedge and made some sort of joke about his untimely zeal, while the girls had joined in with laughter. When the old man threatened them with his long shears, they had all swung their hats, waved, and mocked him. Now he sat inside behind locked shutters; yet he peered through the cracks with envy, and when his anger gradually subsided and he saw the last few people dashing to the fair as though their lives depended on it, he put on his boots, stuck a taler into his pouch, took a cane, and got set to go. Suddenly it occurred to him that a taler was indeed a lot of money. So he pulled it out of the leather pouch, replaced it with half a taler, and tied the pouch with a string. Then he put it into his pocket, locked the house and garden gate, and ran so fast that he passed many pedestrians and even two wagons on his way to the city.

Once he was gone and his house and garden stood empty, the dust settled gently on the road. The sounds of trotting horses and brass bands floated and faded away. The sparrows began to come out of the fields of stubble. Bathed in the white dust, they inspected what was left over from the tumult. The road was empty and dead and hot. From the remote distance shouts of joy and sounds of music still drifted from time to time, faint and lost.

Just then a man emerged from the forest. The broad brim of his hat sloped over his eyes, and he meandered casually all by himself along the deserted country road. He was a large man and had the firm, calm stride of a wanderer who has traveled a great deal on foot. His clothes were plain and gray, and his eyes peered out from the shadow of his hat, carefully and serenely leaving the impression of a man who desires nothing from the world but observes everything with great attention. Indeed, nothing escaped his view. He saw the countless tangled wagon tracks running ahead of him. He saw the hoof marks of a horse that limped on its left hind foot. He saw the tiny glimmering roofs of Faldum rise on the hill in the distance. He saw a little woman, anxious and desperate, wandering about a garden as if lost and calling for someone who did not answer. He saw a small piece of metal flash on the edge of the road, and he bent over and picked up a bright round brass disk that a horse had lost from its collar. He put it into his pocket. And then he saw an old hawthorn hedge that had just been partially trimmed. The first part of the work was precise and clean and seemed to have been done with pleasure. Yet as he went along the hedge, he saw that less and less care had been taken, so that there were deep cuts, and neglected branches stuck out with sharp bristles and thorns.

Farther on the stranger found a child’s doll lying on the road. A wagon wheel must have run over its head. He saw a piece of rye bread still gleaming with melted butter. Finally, he found a sturdy leather pouch with a half taler inside it. He leaned the doll against a curbstone at the edge of the road, crumbled the bread and fed the pieces to the sparrows, and stuck the pouch with the half taler into his pocket.

It was incredibly silent on the abandoned road. The turf on both sides was thick with dust and parched by the sun. Chickens ran around a nearby farmyard, and nobody could be seen far and wide as the chickens clucked and stuttered dreamily in the warm sun. But then he saw an old woman leaning over a bluish cabbage patch and pulling weeds from the dry ground. The wanderer called out and asked her how far it was to the city. She was deaf, however, and when he called again louder, she only looked at him helplessly and shook her gray head.

As the stranger walked on, he heard the sounds of music rise and fall from the city. They became more frequent and longer the closer he came to the city, until they flowed continually like a distant waterfall, music and the murmur of voices, as if all the people had gathered together and were enjoying themselves there. Now a stream flowed next to the road, wide and quiet. There were ducks on it, and brown-green water weeds beneath the blue surface. When the road began to climb, the stream curved to the side, and a stone bridge traversed it. A thin man, who looked like a tailor, was asleep atop the low wall of the bridge, with his head slumped over. His hat had fallen down into the dust, and sitting next to him, a small cute dog kept guard over him. The stranger wanted to wake the tailor because he could easily fall over the wall of the bridge while sleeping. However, once he looked over the wall, the stranger realized that it was not very high, and the water was shallow. So he let the tailor continue sleeping.

After walking up a steep footpath, the stranger came at last to the city gate of Faldum. It was wide open, and not a person was to be seen. The man strode through the gate, and suddenly his footsteps echoed loudly on a paved street, where a row of empty, unharnessed wagons and carriages were stationed alongside the houses. Some signs of life and noise sounded from other streets, but not a single soul could be found here. The little street was filled with shadows, and only the upper windows of the houses reflected the golden day. The wanderer rested here for a short time, sitting on the shaft of a rack wagon. Before he set off again, he placed the brass disk of the harness that he had found alongside the road on the driver’s seat.

He had walked no farther than a block before he was engulfed by the noise and tumult of the fair. There were a hundred booths, and dealers were shouting loudly and trying to sell their goods. Children blew silver-tinseled horns. Butchers fished strings of wet sausages from large boiling kettles. A medicine man posing as a doctor stood high on a platform and peered eagerly through his thick horn-rimmed glasses. He had set up a chart that pictured all sorts of human diseases and maladies. A man with long black hair passed by his booth leading a camel by a rope. With its long neck, the camel looked arrogantly down at the crowd of people, moved its split lips back and forth, and made signs of chewing.

The man from the woods scanned everything with great interest. He let himself be pushed and shoved by the crowd. He glanced into the booth of a man who sold colored prints. At another booth he read the sayings and mottos on sugar-coated gingerbread cookies. He did not stay at any one place very long, however, and seemed to be looking for something that he had not yet found. So he moved forward slowly until he came to the large central square where a bird dealer was setting up a cage on the corner. There he listened for a while to the voices that came from the many small cages, and he answered them by whistling softly to the linnet, the quail, the canary, and the warbler.

Suddenly he was attracted by something nearby, something bright and dazzling, as if all the sunshine were concentrated on this one spot, and when he headed in that direction, he came upon a mirror hanging in a booth. Next to it were other mirrors, hundreds of them, big and small, square, round, and oval, mirrors to be hung on walls and to stand up. There were also hand mirrors and small, thin pocket mirrors that you could take anywhere, so that you would not forget your own face. The dealer stood there, caught the sun in a bright mirror, then let the sparkling reflection dance over his booth. Meanwhile, he shouted incessantly, “Mirrors, ladies and gentlemen, buy your mirrors here! The best mirrors! The cheapest mirrors in Faldum! Mirrors, ladies, splendid mirrors! Just take a look. Everything’s genuine. The very best crystal!”

The stranger stopped at the booth of mirrors and appeared to find what he was looking for. Among the people examining the mirrors were three young girls from the countryside. He moved to a spot close by and watched them. They were lively and robust peasant girls, neither beautiful nor ugly, wearing thick-soled shoes and white stockings. Their blond braids had been somewhat bleached by the sun, and they had bright young eyes. Each girl had taken an inexpensive mirror in her hand, and as all three hesitated and deliberated whether they should buy, while also enjoying the sweet torment of choosing, each looked forlornly and dreamily into the translucent depths of the mirror and regarded her reflection, her mouth and eyes, the small jewel of her necklace, the freckles around her nose, the smooth part in her hair, and the rosy ear. Then they became silent and serious. The stranger, who stood right behind the girls, saw their large, almost jubilant eyes and reflections gazing at him from the mirrors.

“Oh,” he heard the first girl say, “I wish I had long hair, shiny red hair, that hung down to my knees!”

Upon hearing her friends wish, the second girl sighed softly and looked deep into her mirror. Then she, too, divulged her heart’s dream with a blush and said shyly, “If I could wish, I’d like to have the most beautiful hands, totally white and delicate, with long slender fingers and rosy fingernails.” As she said this, she looked at her hand holding the oval mirror. The hand was not ugly, but the fingers were a bit short and thick and had become coarse and hardened from work.

The third girl, the smallest and most vivacious of the three, laughed at all this and cried merrily, “That’s not a bad wish! But you know, hands aren’t all that important. What I’d prefer most of all would be to become the best and most nimble dancer in the whole country of Faldum from this moment on.”

All of a sudden the girl jumped in fright and turned around. A strange face with black glaring eyes had been looking out at her in the mirror from behind her own face. It was the face of the stranger, who had stepped behind her, and until then the three girls had not noticed him. Now they stared into his face with amazement, while he nodded to them and said, “You’ve made three beautiful wishes, my girls. Do you really mean what you’ve said?”

The small girl put down the mirror and hid her hands behind her back. She wanted to pay the man back for frightening her and was thinking of a sharp word or two to say to him. But when she looked into his face, she saw so much power in his eyes that she became timid.

“Does it matter to you what I wish?” she said simply, and turned red.

But the other girl, who had wished for the elegant hands, felt that she could trust him. There was something fatherly and distinguished about him.

“Yes,” she said. “We are serious about what we said. Can one wish for anything more beautiful?”

The mirror dealer had joined them, and now other people, too, were listening. The stranger had turned up the brim of his hat so that everyone could see his smooth, high forehead and imperious eyes. Now he nodded to the three girls in a friendly way, smiled, and announced, “Look, you already have what you wished for!”

The girls gazed at one another and then looked into their mirrors. Suddenly all three of them turned pale out of astonishment and joy. The first girl’s hair had turned into thick golden-red locks that hung down to her knees. The second was holding her mirror in the slenderest and whitest hands, just like those of a princess, and the third was suddenly wearing red leather dancing shoes, standing with ankles as slim as those of a deer. None of the girls could grasp what had happened, but the girl with the elegant hands burst into tears of joy. She leaned on her friend’s shoulder and wept blissfully into her long golden-red hair.

Now the story of the miracle spread by word of mouth and through loud cries all around the booth. A young journeyman who had watched everything stood and stared at the stranger with wide-open eyes, as though he were paralyzed.

“Would you like to wish for something?” the stranger asked him all at once.

The journeyman was frightened and completely confused. He looked around helplessly to spot something to wish for. Then he saw an enormous string of thick red sausages hanging in front of the pork butcher’s stand, and he stammered as he pointed to it.

“I’d like to have a string of sausages like that.”

No sooner did he say this than a wreath of sausages hung around his neck, and everyone present began to laugh and shout. People tried to move closer, and everyone wanted to make a wish. And they were all allowed to do so. The very next man was bolder and wished for new Sunday clothes from top to bottom. All at once he was wearing a fine, brand-new suit more elegant than that of the mayor. Then a country woman came up and, after summoning her courage, demanded ten talers on the spot. Immediately the talers were jingling in her pocket.

Now the people saw that real miracles were actually happening, and the news spread like wildfire throughout the marketplace and the city. People gathered rapidly in large crowds all around the booth of the mirror dealer. Many laughed and joked; others did not believe a thing and voiced their doubts. But many had already been infected by the wish-fever and came running with glowing eyes and hot faces distorted by greed and need, for they all feared that the source of the wishes might dry up before they could dip into it. Little boys wished for cookies, crossbows, bags of nuts, books, and bowling games. Little girls went away happy with new clothes, ribbons, gloves, and umbrellas. A little ten-year-old boy, who had run away from his grandmother and was excited by all the glories and splendor of the fair, wished in a clear voice for a live pony, but it had to be black. All at once a black colt neighed behind him and rubbed its head warmly on his shoulder.

An old bachelor with a walking stick in his hand forced his way through the crowd, which was totally intoxicated by the magic, and stepped forward trembling. He could barely speak a word because he was so excited.

“I wish,” he said, stuttering, “I wi-wi-wish two hundred times—”

The stranger looked at him closely, then pulled a leather pouch out of his pocket and held it before the eyes of the excited little man.

“Wait a second!” said the stranger. “Didn’t you lose this money pouch? There’s half a taler inside.”

“Yes, I did!” exclaimed the bachelor. “It’s mine.”

“Do you wish to have it back?”

“Yes, give it to me.”

So he recovered his pouch, but at the same time he wasted his wish, and when he realized this, full of anger he lifted his cane against the stranger and tried to hit him, but he missed and smashed a mirror. The pieces of glass were still clinking as the dealer came over and demanded money, and the bachelor had to pay.

Now a stout house-owner approached and made a splendid wish. To be precise, he wished for a new roof for his house, and within seconds it glistened from his street with brand-new tiles and a chimney as white as chalk. Then everyone was stirred up once more and began to wish for bigger and better things. Soon one man was not embarrassed to wish for a new four-story house on the marketplace, and a quarter of an hour later he was leaning over his own windowsill and observing the fair from there.

Actually there was no longer a fair since everyone and everything in the city was flowing like a river from a source — the spot by the booth of mirrors, where the stranger stood and allowed each person to make a wish. Cries of astonishment, envy, or laughter followed each wish, and when a hungry little boy wished for nothing more than a hatful of plums, his hat was refilled with taler coins by one of the people whose wish had been less modest. The fat wife of a grocer received great applause and cheers when she wished away a heavy goiter. But then the people were given an example of what anger and resentment can do. Her own husband, who was unhappily married to her and had just had a bad argument with her, used his wish, which could have made him rich, to restore the goiter to the same place where it had been before. Nevertheless, the better precedent had already been set, and a group of feeble and sick people were brought to the booth. The crowd became delirious again when the lame people began to dance and the blind greeted the light with blessed new eyes.

In the meantime the young people had already run all over the city announcing the miraculous events. They told everyone, including a loyal old cook who was standing at the hearth and roasting a goose for the family in the house where she worked. When she heard the news about the wishes through the window, she, too, could not resist running to the marketplace to wish herself rich and happy for the rest of her life. Yet the more she pushed her way through the crowd, the more perceptibly her conscience began to bother her, and when it was her turn to wish, she gave up everything and desired only that the goose not burn before she was back home tending it.

The tumult did not end. Nursemaids rushed out of houses dragging children by their arms. Excited invalids jumped out of their beds and ran out onto the streets in their nightgowns. A little woman, very confused and desperate, arrived from the countryside, and when she heard about the wishes, she sobbed and begged that she might find her lost grandson safe and sound. Within seconds, the boy came riding up on a small black pony and fell laughing into her arms.

In the end, the entire city gathered and became ecstatic. Couples in love whose wishes had been fulfilled wandered arm in arm. Poor families drove around in carriages, still wearing their old patched clothes from that morning. Many people who regretted making a foolish wish either departed sadly or were drinking themselves into forgetfulness at the old fountain in the marketplace that a jokester had filled with the very best wine through his wish.

Eventually there were only two people in the entire city of Faldum who did not know anything about the miracle and had not made wishes for themselves. They were two young men, and they were up high in the attic of an old house at the edge of the city, behind closed windows. One of them stood in the middle of the room, held a violin under his chin, and played with all his soul and passion. The other sat in a corner, held his head between his hands, and was completely absorbed in listening. The sun shone obliquely through the small windowpanes and cast a bright hue, illuminating a bouquet of flowers standing on the table, and its rays played on the torn wallpaper. The room was completely filled with warm light and the glowing tones of the violin, like a small secret treasure chamber glistening with the luster of precious stones. The violinist had closed his eyes and now swayed back and forth as he played. The listener stared quietly at the floor and was lost in the music as if there were no life in him.

Then loud footsteps pounded outside on the street. The door of the house burst open, and the steps came rumbling up the stairs all the way to the attic room. It was the landlord, and he ripped the door open and barged into the room with yells and laughter. The violin music broke off at once, and the silent listener leaped into the air, distraught. The violinist was angry at being interrupted, and he glared reproachfully at the landlord’s laughing face. But the man paid no attention to this. Instead, he waved his arms like a drunkard and screamed, “You fools! You sit here and play the violin, and outside the entire world is being changed. Wake up and run so that you won’t be too late! There’s a man at the marketplace granting wishes to everyone and making them come true. If you hurry, you won’t have to live in this tiny attic anymore and owe me the measly rent. Get up and go before it’s too late! Even I’ve become a rich man today!”

The violinist listened with astonishment, and since the man would not leave him in peace, he set the violin down and put his hat on his head. His friend followed without saying a word. No sooner did they leave the house than they saw that half the city had already changed in the most remarkable way, and they walked past the houses somewhat uneasily, as if in a dream. Yesterday these houses had been gray and crooked, humble dwellings. Now, however, they stood tall and elegant like palaces. People whom they had known as beggars were driving around in four-horse carriages, or they were now proud and affluent and looking out of the windows of their beautiful houses. A haggard-looking man who resembled a tailor, followed by a tiny dog, plodded along, tired and sweaty, dragging a large heavy sack, and gold coins trickled through a small hole onto the pavement.

Almost automatically, the two young men arrived at the marketplace and found themselves before the booth with mirrors. The stranger standing there said to them, “You’re not in much of a hurry to make your wishes. I was just about to leave. Well, tell me what you want, and feel free to make any wish you desire.”

The violinist shook his head and said, “Oh, if only you had left me in peace! I don’t need anything.”

“Are you sure? Think about it!” cried the stranger, “You may wish for anything that comes to your mind. Anything.”

Then the violinist closed his eyes and contemplated for a while. Finally he spoke in a soft voice and said, “I wish I could have a violin and play it in such a wonderful way that nothing in the whole world would be able to disturb me with its noise anymore.”

Within seconds he held a beautiful violin and bow in his hands. He tucked the violin beneath his chin and began to play. The music sounded sweet and rhapsodic like the song of paradise. Whoever heard it stopped still and listened with somber eyes. As the violinist played more and more intensely and magnificently, however, he was lifted up by invisible forces and disappeared into thin air. His music continued to resound from a distance with a soft radiance like the red glow of the sunset.

“And you? What do you wish?” the man asked the other young man.

“You’ve taken the violinist away from me!” complained the young man. “Now the only thing I want from life is to be able to listen and observe, and I want only to think about things immortal. So I wish I were a mountain as large as the country of Faldum, so tall that my peak would tower above the clouds.”

All at once there was a rumbling beneath the earth, and everything began to sway. The glass clattered and broke. The mirrors fell one by one in splinters onto the pavement. The marketplace rose up as a sheet rises when a cat that has fallen asleep underneath awakes and arches its back up high. The people were overwhelmed by terror. Thousands screamed and began fleeing the city into the fields. Those who remained at the marketplace watched a mighty mountain climb behind the city into the evening clouds. Beneath it they saw the quiet stream transformed into a white and wild mountain torrent that rushed from the top of the mountain with many falls and rapids down into the valley below.

Only a moment had passed, and yet the entire countryside of Faldum had turned into a gigantic mountain. At its foot was the city, and far away in the distance the ocean could be seen. Nobody had even been harmed in the process.

An old man who had been standing beside the booth of mirrors and had witnessed everything said to his neighbor, “The world’s gone mad. I’m happy that I don’t have much longer to live. I’m only sorry about the violinist. I’d like to hear him just one more time.”

“Yes, indeed,” said the other. “But tell me, where’s the stranger gone to?”

They looked around, but he had vanished. When they gazed up at the new mountain, however, they saw the stranger up high, walking away with his cape fluttering in the wind. He stood for a moment, a gigantic figure against the evening sky, then disappeared around the corner of a cliff.

The Mountain

Everything passes away in time, and everything new grows old. The annual fair had long ago become history, and many people who wished themselves rich on that occasion had become poor again. The girl with the long golden-red hair had married and had children, who also went to the fair in the city in the late summer of each year. The girl with the nimble dancing feet had become the wife of a guild master in the city, and she could still dance splendidly, much better than many young people. Though her husband had wished for a lot of money, it seemed as though the merry couple would run through all of it before the end of their lives. However, the third girl with the beautiful hands still thought about the stranger at the mirror booth more than anyone else. Though this girl had never married and had not become rich, she still had her delicate hands, and because of her hands she had stopped doing farm work and instead looked after the children in her village wherever she was needed and told them fairy tales and stories. Indeed, it was from her that all the children learned about the miraculous fair, and how the poor had become rich and how the country of Faldum had become a mountain. Whenever she told this story, she would look at her slender princess hands, smile, and become so moved and full of love that one was apt to believe that nobody had received a better fortune at the booth of mirrors than she had, even though she was poor and without a husband and had to tell beautiful stories to children who were not her own.

Everyone who had been young at that time was now old, and those who had been old were now dead. Only the mountain stood unchanged and ageless, and when the snow on his peak glistened, he seemed to smile and be happy that he was no longer a human being and no longer had to calculate according to standards of human time. The cliffs of the mountain beamed high above the city and the countryside. His tremendous shadow wandered every day over the land. His streams and rivers announced in advance the change of the seasons. The mountain had become the protector and father of all. He generated forests and meadows with waving grass and flowers. He produced springs, snow, ice, and stones. Colorful grass grew on the stones, and forget-me-nots alongside the streams. Deep down in the mountain were caves where water dripped like silver threads year after year from stone to stone in eternal rhythm, and in his chasms were secret chambers where crystals grew with a thousand-year patience. Nobody had ever reached the peak of the mountain. But many people claimed to know that there was a small round lake way up on the top, and that nothing but the sun, moon, clouds, and stars had ever been reflected in it. Neither human nor animal had ever looked into this basin of water that the mountain held up toward the heavens, for not even the eagles could fly that high.

The people of Faldum lived on cheerfully in the city and in the numerous valleys. They baptized their children. They were active in trading and in the crafts. They carried one another to their graves. Their knowledge of and dreams about the mountain were passed on from grandparents to grandchildren and lived on. Shepherds and chamois hunters, naturalists and botanists, cowherds and travelers increased the treasured lore of the mountain, and ballad singers and storytellers passed it on. They knew all about the endless dark caves, about waterfalls without light in hidden chasms, about glaciers that split the land in two. They became familiar with the paths of the avalanches, and the unpredictable shifts in the weather, and what the country might expect in the way of heat and frost, water and growth, weather and wind — all this came from the mountain.

Nobody knew anything more about the earlier times. Of course, there was the beautiful legend about the miraculous annual fair, at which every single soul in Faldum had been allowed to wish for whatever he or she wanted. But nobody wanted to believe anymore that the mountain himself had arisen on that day. They were certain that the mountain had stood in his place from the very beginning of time and would continue to stand there for all eternity. The mountain was home. The mountain was Faldum. More than anything the people loved to hear the stories about the three girls and about the violinist. Sometimes a young boy would abandon himself while playing the violin behind a closed door and dream of disappearing in beautiful music like the violinist who had drifted into the sky.

The mountain lived on silently in his greatness. Every day he watched the sun, far away and red, climb from the ocean and circle around his peak from east to west, and every night he watched the stars take the same silent path. Each winter the mountain would be wrapped in a coat of snow and ice, and each year the avalanches would rumble at a given time down his sides, and at the edge of the remains of the snow, the bright-eyed summer flowers, blue and yellow, laughed in the sun, and the streams swelled and bounced, and the lakes sparkled with more blue and more warmth in the sunlight. Lost water thundered faintly in invisible chasms, and the small round lake high upon the peak lay covered with heavy ice and waited the entire year to open its bright eyes during the brief period of high summer when for a few days it could reflect the sun and for a few nights the stars. The water in the dark caves caused the stones to chime in eternal dripping, and in secret gorges the thousand-year crystals grew steadfastly toward perfection.

At the foot of the mountain, a little higher than the city, there was a valley through which a wide brook with a smooth surface flowed between alders and meadows. The young people who were in love went there and learned about the wonders of the seasons from the mountain and trees. In another valley the men held their training exercises with horses and weapons, and each year during the eve of solstice, an enormous fire burned on one of the high steep knolls.

Time flew by, and the mountain protected the valley of love and the training ground. He provided space to the cowherds, woodcutters, hunters, and craftsmen. He gave stones for building and iron for smelting. He watched calmly and let the summer fire blaze on the knoll and watched the fire return a hundred times and another hundred times. He saw the city below reach out with small stumpy arms and grow beyond its old walls. He saw hunters discard their crossbows and turn to firearms to shoot. The centuries passed like the seasons of the year and the years like hours.

He did not care that one time over the years the solstitial fire had stopped burning on the rocky plateau and from then on remained forgotten. He was not troubled when, after many years passed, the training grounds became deserted, and plantain and thistle ran all over the fields. And as the centuries marched on, he did not prevent a landslide from altering his shape and causing half the city of Faldum to lie in ruins under the rocks that rolled down upon it. Indeed, he rarely glanced down and thus did not even notice that the city remained in ruins and was not rebuilt.

He did not care about any of this. But something else began to be of concern. The times raced by, and behold — the mountain grew old. When he saw the sun rise and wander and depart, he was not the same way he had once been, and when he saw the stars reflected in pale glaciers, he no longer felt himself their equal. The sun and stars were now no longer particularly important to him. What was important now was what was happening to himself and within himself, for he felt a strange hand working deep beneath his rocks and caves. He felt the hard primitive stone becoming brittle and crumbling away into layers of slate, the brooks and waterfalls causing corrosion inside. The glaciers had disappeared and lakes had grown. Forests were transformed into fields of stone, and meadows into black moors. The hollow patches of his moraines and gravel spread endlessly into the country with forked tongues, and the landscape below had become strangely different, strangely rocky, strangely scorched and quiet. The mountain withdrew more and more into himself. He felt certain that he was no longer the equal of the sun and stars. His equals were the wind and snow, the water and ice. His equals were the things that seemed to shine eternally and yet also disappeared slowly, the things that perished slowly.

He began to guide his streams down the valley more fervently, rolled his avalanches more carefully, and offered his meadows of flowers to the sun more tenderly. And it happened that in his old age he also began remembering about human beings again. Not that he now regarded people as his equal, but he began to look about for them. He began to feel abandoned. He began to think about the past. But the city was no longer there, and there was no song in the valley of love, and no more huts on the meadows. There were no more people there. Even they were gone. It had become silent. Everything had turned languid. A shadow hung in the air.

The mountain quivered when he felt all of that which had perished. And as he quivered, his peak sank to a side and collapsed. Pieces of rock rolled down into the valley of love, long since filled with stones, and down into the sea.

Yes, the times had changed. But what was it that caused him to remember and think about people so constantly now? Hadn’t it once been wonderful when they burned the solstitial fire on the knoll and when young couples walked in the valley of love? Oh, and how sweet and warm their songs had often sounded!

The gray mountain became entirely steeped in memory. He barely felt the centuries flowing by. Nor did he pay much attention to how his caves were softly rumbling and collapsing here and there, or to how he shifted himself. When he thought about the people, he felt the pain of a faint echo from past ages of the world. It was as if something had moved and love had not been understood, a dark, floating dream, as if he had also once been human or similar to a human, had sung and had listened to singing, as if the thought of mortality had once ignited his heart when he was very young.

Epochs rushed by. The dying mountain clung to his dreams as he sank and was surrounded by a crude wasteland of stone. How had everything been at one time? Wasn’t there still a sound, a delicate silver thread that linked him to a bygone world? He burrowed with great effort into the night of moldy memories, groped relentlessly for the torn threads, bent constantly far over the abyss of the past.

Hadn’t he had a community, a love that glowed for him at one time? Hadn’t a mother sung to him at one time at the beginning of the world?

He thought and thought, and his eyes, the blue lakes, became murky and heavy and turned into moors and swamps, while stone boulders rippled over the grassy strips of land and small patches of flowers. He continued to think, and he heard chimes from an invisible distance, felt notes of music floating, a song, a human song, and he began trembling in the painful pleasure of recognition. He heard the music, and he saw a man, a youth, completely wrapped in music, swaying through the air in the sunny sky, and a hundred buried memories were stirred and began to quiver and roll. He saw the face of a human with dark eyes, and the eyes asked him with a twinkle,

“Don’t you want to make a wish?”

And he made a wish, a silent wish, and as he did so, he was released from the torment of having to think about all those remote and forgotten things, and everything that had been hurting him ceased. The mountain and the country collapsed together, and where Faldum had once stood, the endless sea now surged and roared far and wide, and the sun and stars took turns appearing high above it all.

The End

If you would like to join one of the rituals
of the Moons of Saturn Series
we will run throughout the month of July



July 9, 2021

The Star of Cyclical Growth

Purnavasu is the star of infinitely repeating cyclical patterns. Purna means to repeat and Vasu means to to shine and reveal. And so, this star is the revealer of cycles and patterns.

The teaching of Purnavasu comes by showing and revealing to us, the patterns that we live within and are repeating.
Repeating actions breed repeating results and weave the matrices of reality.
We don’t always see the reoccurring patterns that we repeat and follow, when we ourselves live in the midst of them.
The work with Purnavasu Nakshatra is concerned with getting insight into the roots that underlie the repetitious formations of our soul. Inner creates the outer and vise versa.

When we become aware of the repetitious installations in the cyclic geometry of our soul, then the very nature of our personal reality is brought into question. Revealing of the repetitious cycles is the first step towards liberating ourselves from them.
The cycles that we repeat, begin as a psychic imprint, that in turn become a pattern in our soul. This can further manifest itself into our feelings and then find expression in our behavior, which in turn shapes and forms reality for us.
The origins of our cyclical patterns is a deep inner study. Some of them may be picked up through ancestral codes of conduct that we have inherited through the energetic line of our heritage.
We may also unquestioningly inherit and move within cultural and societal codes and patterns. Consider if you will… if we were transplanted to a culture with a code and pattern different to what we know, we would most probably question it.
Say for example, that we were transplanted to a past era with another pattern and structure altogether. We might, and most probably would – from our present vantage point – call some of the patterns, mysoginist, oppressive, racistic, fascistic and brutally warped.
We would not even need to go back in time to step into places where such patterns are repeating themselves. The modern age offers an ample variety of places with patterns that move within the above aforementioned ‘isms’.

Cyclical Twin Energies

Purnavasu Nakshatra’s 4 Padas, (steps) span from the constellation of Gemini into the first degrees of Cancer. The stars of Purnavasu are known as Castor and Pollux who are the celestial twins of Greek mythology. These two twins are worth mention here, as they present some pertinent themes of Purnavasu.

Castor and Pollux are the children of Leda. The famous story of Leda and the swan is rather well known in many circles, from ballet to feminism to renaissance art.
The Greek mysteries tell us that Castor was the mortal twin and Pollux was the immortal twin. Zeus disguised himself as a swan and mated with Leda, who in turn layed eggs from which the twins were born. The immortal Pollux was born of Zeus and the mortal Castor was conceived through the mortal union of Leda and her human husband.

And so the mortal twin Castor remained on earth, while Pollux lived with the immortals on mount olympus.
Esoterically, Pollux represents the etheric plane while Castor represents the echo upon the earth plane. We will cover this principle of echoes and exchange further and deeper in the section below, where we will consider the symbol of Purnavasu, which is the ever returning arrow.
When Castor died, he was reunited with his twin brother in the stars. A peculiar deal was struck with Zeus, that they could cyclicly exchange places between the earth and the etheric plane.

And so, in an eternal cyclical rhythm, the twins would alternate between the ethers and the earth. Each time one brother would die, they would be together for a period and shine bright together, before the other would move to the earth plane, and the ever repeating cycle of exchange would go on.
The whole theme of Purnavasu is the ever repeating cycle.
The word Purnavasu could be well translated as re-manifesting, and understood through the story of these twins.
In the following sections, we will look further and deeper into rhythm and cycles.

Dancing through Cycles of Karma

Patterns and geometry of soul may be invisible to those who live in the midst of them.
Our ancestry, education, culture, religion, generation and gender, to mention a few things, are all areas that are imbued with patterns and geometric structures, that if not unmasked, become a repeating cycle that crushes liberty and creativity of spirit.

The Tantric could be called an inter-dimensional voyager, who relinquishes the soul from the imposing reflections put upon it by the kaleidoscopic masks that cover the face of the Goddess. Shakti is power, she is the Goddess who gives birth to endless coverings.
Her coverings can become patterns and confining codes of conduct.
The Yogin aligns to the naked Mudra that strips themselves of the patterned confining coat of conduct.
The patterns and codes that shape our experience of reality are made up of psychic energy. Psychic energy might sound like a flimsy esoteric term of sky walking, but it is the causal root of reality and action.
Psychic energy patterns become convictions. Some of those convictions have spurred genocides and atrocities, upon not only human life.
Psychic energy patterns then, are nothing flimsy at all, almost invisibly, they verily define personal and collective reality.
The Yogin takes nothing for granted and explores the most established and accepted codes and patterns of so-called normalcy.

We become part of the structures that we create. Being liberated from them does not mean that we can’t, or don’t, have the option to function in them.
Not living with structures is not the same as rejecting them because we are incapable of living with them.
But rather, being liberated from structures means, that we are not constrained by them.
Not being constrained by them, would actually give us the autonomy to move in and out of them.
Not being ruled and constrained by psychic structures does not mean that one denies and rejects them, this is indeed a point to ponder.
The yogin is a magician who learns to work with psychic structures. The Yogin trains themselves to be able to put the mask of structure on to suit the situation if needed. A mask here, can be thought of as a psychic energy formation.
The Yogin tries to be careful not to be defined by the mask of structure that (s)he wears.
Masks come in many shapes and sizes, some good, some bad and some ugly or beautiful.
For the Yogic voyager, each conviction and station of being is but a mask upon the naked truth.
When we wear a mask and can no longer remove it, then we have lost the naked truth and come into the world of masks and identifies.
Tantic practice is an investigation of the masks that eclipse the naked truth.
All masks fall in time.
A mask can wear us if we are not vigilant.
We may be busy shaping the mask in the hope to wear it eternally?
Such things are part of the Tantric investigation.

The Ever Returning Arrow

The symbol of Purnavasu is the ever returning arrow, returned cyclicly and eternaly to the quiver.
This is the arrow of Raam, who is the great solar warrior and weilder of the bow and arrow. Raam is considered the greatest of all masters of the bow and arrow. His arrow represents the quality of absolute focus. Raam is the ultimate warrior of mystic and legendary status, his birth star, in point of fact, is Purnavasu.
Every arrow that Raam shot is returned to the quiver, in the eternal cycle of the laws of exchange.

What is sent out, returns back to us. What we give comes back.
An example of a pendulum obeys this law perfectly. The swing in one direction, is mirrored in the other. If we send out the energies of precise focus and intention, they are returned to us.
Contrarily, if our energies are muddled, a muddled energy returns. The law of echo and reflection is intensified on a Purnavasu Moon.
The stars give us an opportunity here to work with our deepest intention. Perhaps the one that has been wished for and forgotten, or perhaps the failed one that we gave up on, and therefore never reached fruition.

An intention of what we truly need, is brought to us by Purnavasu Nakshatra, results come under rituals of this Moon, if our focus is honed and applied.
Ritual is an act of applied focus. On this ritual night, we shall be working with intention amongst other things. Making an intention on a Purnavasu Dark Moon night is like planting a seed. A seed needs care and focused awareness to plant and bring to fruition.

The subtle energy patterns in our soul, that echo and reflect back to us cyclically and repeat themselves, can effect us personally in a variety of ways.
They may keep us in unhealthy patterns. When we find ourselves living over, and repeating a well known pattern, it may be of liberating benefit to us, to investigate and look into its foundations.
Cyclic patterns in our soul might run like clockwork, they might repeat themselves with regularity when particular phenomena come before us and entice a predictable effect from us.
For example, we might have a ‘psychic-sore-spot’ that if touched in a certain way, is certain to react in a predictable fashion. We might come to know our reactions very well and even come to fabricate our lives so as to remove them where possible.
It is of course an option to step out and away from things that cause us to react like clockwork. But there is also another option of facing the things that cause us to react with an autonomy that is not based upon the predictable pattern of repeating cycles.

When we cut something away too much, we might end up cutting part of ourselves away and reducing the motion of our spirit.
The path of the victim is chosen in fear and helplessness. A victim does not only imply a downtrodden impotent state of being. A victim might be a leader of their lives who has steered events to such an extent that their position of avoidance of their triggers, almost promises them never to be touched.
And when the trigger should appear, one would take to the strategy of avoidance and therefore turn away from their own power that comes to them in a guise they would rather not see.
This we could say is the masquerading victim. They might be at the top of their game, whatever it is, but they have no freedom of motion, for when the revealer of their pattern shows up, the clockwork predictability of their inner pattern of psychic cyclical repetition is revealed and causes them to act with avoidance strategy.
This we could call the spiritual aristocrat, it’s quite an apt description of one who protects their assets but never opens the accounts of their soul to discover a reality beyond the spiritually provincial constrains that they have invested in.

Our psychic patters my range from anything between highly destructive and self sabotaging, to functionally routine and manageable. What lays beneath and beyond the cycles of Karma is the voyage that the Tantric takes. The Tantric takes a step through the matrices of personal and collective reality, as they dance through the cycles of Karma.
When the unconscious dance becomes conscious then infinity reveals itself.

The Naked Truth

Akka Mahadevi

The cyclic nature of patterns is the insight that the Nakshatra Purnavasu brings to us.
If we have the liberty to select rhythms and patterns of being, then we are invested with a deep spiritual autonomy. But, if we are caught in patterns that define our reality then we become devoid of autonomy.
We do not here intend at all to get fatalistic and final about the patterns and structures that we carry within the psyche. These structures may be deeply intrenched in us and get are revealed cyclicly though the course of our lives. But the cyclical wheel of Karmic effect, also carries a Karmic cause, that is in fact, something not set in stone, though it may indeed be set in the ether.
The Yogin is known in Hindi as Akash Pahane, this means clad in sky, or more accurately, dressing in the ether.
Many Yogins in the classical sense, emulate the great nakedness and literally do not wear any clothing. There are several lines of Yogins in India who honour the great spiritual nakedness of Shiva by never covering themselves.
Shiva is called Digambaar, this is a deep word with many connotations, on a basic level, it means one who is sky-clad, it means naked but it’s nakedness is it’s formlessness, and having no acquaintance to, and not being limited by the structures of psychic forms.

A naked Yogini of the past was called Akka Mahadevi, and is held in heigh esteem by the Yogins.
Akka Mahadevi was a naked wandering mystic who lived in the 12th century, known for her rejection of convention and her devotional verses of mystical poetry.
An ever reoccurring cyclic symbol found through her poems is the mystical nature of Shiva who she repeatedly likened to the scent of the Jasmine flower.
Akka Mahadevi was a radical outside of the box Yogini, who rejected societal standards as illusionary coverings and mirages upon the naked truth.
In her poems she addresses all manner of mystical and emotional themes. She is often erotic in her depiction of the yogic path, and forthrightly addresses the illusions of sexual and gender stereotypes, as well as the illusionary institutions that wrap themselves around such stereotypes. Akka Mahadevi is a figure of mythological proportions, and much about her is gleaned from her poetry. She is said to have lived a simple life of yogic devotion in the mountainous wildness, befriended by Mother Nature. As we see in the picture of herbelow, her hair was said to be very long.
Her verses hint at the nakedness of truth without form. A truth that is free of structures and the cyclic forms of Karmic covering.

Here are a couple of her wondrous poems that point to the reality beyond coverings

You Can Confiscate
You can confiscate
money in hand;
can you confiscate
the body’s glory?
Or peel away every strip
you wear,
but can you peel
the Nothing, the Nakedness
that covers and veils?
To the shameless girl
wearing the White Jasmine Lord’s
light of morning,
you fool,
where’s the need for cover and bejewel?
People, Male and Female
male and female,
blush when a cloth covering their shame
comes loose
When the lord of lives
lives drowned without a face
in the world, how can you be modest?
When all the world is the eye of the lord,
onlooking everywhere, what can you
cover and conceal?

The ritual nakedness and the Tantric work of stripping away patterns is ever a reminder that structures and patterns are something pliable, in that they can be altered and played with. They may live within us and we within them. But when structure gain an immovably fixed status upon the sweep and sway of the spiritual heart, then we are closed to the creative liberty of the Goddess

For the Tantric voyager, what seems fixed, can become pliable and offer previously unknown spheres of being.

Her Farthers Mother

Aditi is the great mother Goddess. She is the principle of the eternal cosmic mother.
Aditi is the mother of all the Devas and the 12 Adityas. The 12 Adityas are the Solar deities, who through the course of a year, manifest as the 12 aspects of the sun in each lunar month. The rebirth of the same essence in endlessly cyclical repetitions is expressed in Aditi. We see this most boldly expressed in the apparently boggling notion that Aditi is the mother of her own father. Her father is Daksha, who is in turn the father of the 27 star sisters who are the Nakshatras. Aditi is his mother.
This is a deep subject of meditation that reveals further and deeper the secrets of Purnavasu.
The Yogin takes time to meditate and ponder on this notion of the mother who mothers her own father. By such contemplations of inner celestial intuition, the Yogin psychically opens to the deeper secrets of Aditi
When reading these Yogic mysteries and mythologies of stars and Goddesses, it is easy to skim over them with the conscious mind. When we skim over these mystic notions, then they remain just that. Their roots then don’t bloom any deeper into inner grasp.
As such, they become easily forgotten facts of fascination.
To retain a grasp of these subjects and tap the inner reservoir of deeper meanings. Meditation upon the subject is required. This is a secret to not forgetting these things and gaining a deeper grasp of their mysteries.
Aditi is the etheric Akash element that pervades space invisibly. It is the essence at the root of things.
When we don’t retain a system of wisdom, then we are but skimming the surface with our overland consciousness.
By ground to the underground roots, we deepen and have a foundation that creates a solid tower of wisdom, that is not easily dispersed in the winds of life’s motions.
Aditi brings us the secret grasping a system, by reminding us of meditating on digesting that which we imbibe. Scoffing things down without touching the sides, is the great superficial evil of the high speed age.
Akash is the fundament. It is subtle spacious energy, yes, but it is also that which underlies gradually manifesting form, call it the causal plane if you will.

Aditi is the queen of etheric energy. Her all-pervasive element pervades all space. The Yogins refer to this as Akash. Akash is an element of extreme subtlety. Interestingly we see that the subtle element of Akash is also the element of the ruling planet of Purnavasu. We will consider this in the next section. Akash confers great sensitivity and is an impressionable all pervading essence that imbues all things. Purnavasu is indeed a time of sensitivity and realisation of them subtle realms.

Aditi has the wisdom of every Moon cycle, and is thus held in highest esteem by the Yogins. After all, she mothers the Aditya’s, who be the 12 Solar deities of the Moon cycles of the year.
Each lunar month is a season in itself. The Yogins work ritualistically through the seasons of the Moon cycles. They do this in their ritual calendar with its encoded wisdom.
For the codes to be birthed unto a living breathing tangible life, deep travel is needed, pondering, contemplation and meditation, if you will.
Otherwise we merely participate in surface maneuvers and see the Yogic stories as fantastical notions that have nothing to do with us.
In fact, they have everything to do with us, and are doorways to principles that we face in our souls journey through infinity.
A scholarly approach is not needed, but rather a deep introverting sense of pondering.
The Yogins have called this Swadhyaya, which is sometimes taken to mean to read scriptures and sacred works. The deeper meaning though, is to contemplate, meditate and ponder upon the mysteries, until the door of intuition is approached.
”All that exists outside, exists within”, is a well used Yogic axiom.
Perhaps it actually needs more use and less mention?
Aditi knows each of her ‘sons/suns’, and the Moons that they are bound to. At a later date we may consider each of the Adityas in deeper detail.

Aditi means unlimited, and unbound. She is the unbound mother of the Devas.
She has a sister that is called Diti, which means bound and limited. The ‘A’ as a prefix implies a negation. Diti is the mother of the Asuras and is in opposition the the designs of her sister Aditi.

The principle of motherhood is to be brought to focus here. The generating force that generously pervades the entire universe without bounds, also finds its reflection within us. Motherhood is an eternally creative principle that is the very power of the soul.

Aditi presents us with a conundrum of being able to grasp structures, but at the same time, not being limited and defined by them. The heart of the mother is unbound, it is beyond all structures.

Jupiterian Growth

Purnavasu Nakshatra is ruled by the Brhaspati. This is the planet Jupiter. He is the expansive planet that expands to the further most reaches of the subtle world.
The mythologies tell us that Brhaspati is the Guru of the Devas. He provides the Devic world with the subtle wisdom from beyond the frontiers of the Cosmos.

The Bamboo tree is the plant of Purnavasu Nakshatra. It is a plant of Jupiterarian expansion that is imbodied in its being the fastest growing plant on earth.
A Bamboo tree can grow several centimeters in a single an hour. It is perfectly the planetary plant of Jupiter for its far reaching and expansive nature. It is a plant that aligns to the Akash element of boundless space, we might also consider that it is hollow and carries space internally within itself too.

In India Scoffolding of Bamboo is often used, the bamboo poles are bound together with string in a special knot. Scaffolding with Bamboo can reach phenomenal heights in the seemingly Jupitarian creation of building structures.

Purnavasu as we have seen, is the Star of growth, it is ruled over by the mother of mothers, the question here becomes: What really is growth?

In the sense of Purnavasu Nakshatra, growth is a freeing of the structures that stand in the way of expansion. When no structures obscure the path of Jupiterian expansion, then the infinite reveals itself. Releasing the Karmic structures and patterns that stand before expansive growth, is a work indeed.

Star of Growth

And so, upon this Dark Moon night, we will be working with Purnavasu Nakshatra. This Moon will touched by the lunar house of expansive growth.

Purnavasu is a star of growth that can deeply expand the ritualistic work done on its night. Purnavasu can also be taken to translate as fullness of growth.
Purnavasu gives blessing and assistance to bring the seedling of intention to fruition. The planted seed can sprout if nurtured onwards into the waxing Moon cycle that is soon upon us. A ritual continues in power, if it is honoured and allowed to unfold with careful nurture.

Purnavasu Nakshatra, as we have seen, is very much the star of growth. It is the star that teaches us to look into that which stands in the way of creative growth.

This star brings to the fore, the patterns that keep us in cyclical reality. The energy invested in a cycle can be worked with and liberated towards the endless exploration of infinity. This is the vision of this Stars potential. This is a guiding vision of the Tantric Yogins.

The Dark Moon is the peak of the introverting of the lunarly sway.
The Dark Moon is the deepest point of the waters ebb, just before a cycle of growth commences.
Purnavasu Nakshatra occuring on a Dark Moon, is a time of expanding inwards, and introverting the spirit to look upon the structures and edifices of our psychic inner world.
The waxing lunar growth thereafter, can then commence from a point of inner potency and realisation.
Magical work done upon the Dark Moon is carried into growth upon the waxing cycle.

Since time immemorial, Tantrics have honoured the magical lunar cycles of ebb and flow. The Dark Moon reveals the dark underground roots and depths. By looking into the roots, we address the fruit.

The Dark Moon of Purnavasu, does not highlight or strengthen our Karmic patterns as it would if it were on a Full Moon.
A Dark Moon of Purnavasu is a time when we are presented with an opportunity to step into the deep unconscious origins of our patterns.

The first Dark Moon of the darkening years half, puts us at the edge of the deep well of the unconscious world. The Dark Moon lunar vortex pulls the most unconscious energies from us.
This is a good time to reflect and be aware of what is really going on within us, and reflect upon the tapestries of reality that we a weaving and re-weaving..

Tantric ritual is built upon subtle formulae that work with the energies of the Moon and stars… in their perpetual motion.

The ritual work on a Dark Moon night in the Nakshatra of Purnavasu is very much concerned with the study of our automatic reactions and the cyclical Karmic realities that we revolve and live within. And further and deeper than that, it is concerned with liberation from the codes and structures that confine the sacred heart

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If you would like to join one of the rituals
of the four-part series
we will run throughout the month of July



July 1, 2021


Saturnian themes of restriction have played out en masse in the events we have all faced in recent times. Feeling stifled by the events of our inner and outer lives can leave us with a sense of struggling against the weight of constricting forces. In such a constellation we are made to face our deepest Karmic themes.

Sometimes on the path of life, we lose things of value to us, losing things we hold dear and love is part of the Saturnian journey towards deeper understanding and experience.

Shuni is Saturn and he is the king of the planets. He makes us face the unresolved Karmas. He is considered a grandly malefic planet that raises suffering. Shani brings about deep healing by his addressing of the roots of the situation.

He is the ruler of Tantric practices
and his gaze is ever looking down 
to the roots of things.

Shuni is the celestial dentist that pulls the rotten tooth. It is not a pleasant affair, but it is necessary to go on living healthily.

Shuni is the grand sober reality. His flight spans the infinitely numerous psychic matrices that impress upon reality.

If we hold to the past, we lose the focus of where we are now. Letting go of the past is no easy trick of the mind. It requires a journey of releasing ourselves from the grip of the Karma that holds us, and which we are at the same time holding.

Extracting a diaphanous silken sheet strewn into a bed of thorny rises is a delicate affair. Saturn reminds us that sheet of the soul can’t be yanked free in one fell swoop. 

Wanting the highest reward with the least effort is something that Saturn laughs at. Tantric work with Saturn shows us the places where we wallow. We are shown these swamps of the soul by Saturn putting us in the perspective of facing them head on. The path out is often the path in. Tantric work with Saturn makes us face our deepest themes. It makes us look at what is not usually looked at. It brings the unseen to sight.

Sometimes our paths diverge from things that are hard to release. Sometimes we never learn about the power of release. Release oftentimes, might be thought of as cutting something off, but in truth nothing can so simply be cut away and disposed of.

Saturn carries a paradoxical teaching that shows us that, that which we wish to cut off and avoid is a magical doorway to wisdom.

Digits and Time

Saturn is the lord of time and rhythmic intelligence, as such his digits ought to be spelled out clearly. He moves slowly, steadily and deeply through the constellations of the Zodiac. Of the 9 planets of the Yogins, Saturn is the most time honouring, taking 3 decades to move through the 12 constellations of the zodiac. Spending a period of almost 3 years in each constellation.

At the present time, Saturn is landed in his natural constellation of Power in Makara Rashi, which is the ancient constellation of the Crocodile. Saturn rules the book of disciplined study. Learning and retaining what we learn is in his grip. Saturn is careful and precise in measurement. He has a unblinking eye that ever rests upon the flame of our life.

His hand ever rests on the dark side of the Moon, knowing the exact time of extinguishing the flame.
Saturn sees through the games of chance that we lay upon his table. He is all about absolute certainties and stone cold reality. The gambles and the games we play to avoid his glare, only bring him closer and make him heavier. The Tantrics know him as Shuni, which translates as the heavy crusher.
He sees every single movement we make within the realms of time that belong to him.

Birth of the Unconscious

Taking the form of a dark intense man who rides upon Crow, Shuni is overbearing, majestic, mysteriously and fearsomely punishing and spellbinding. Shuni brings birth to that which is yet unconscious. He stirs the Dormant life in us to reveal itself.

The Crow can eat anything. Feared perhaps for its mystical aura and forboding countenance that reminds us of the underworld and the deep.  

This messenger of Saturn fears not to put it’s beak into the most forbidden and denied of things. The Crow of Saturn will peck as easily into a sweet toffee, as it will into the most stagnantly putrid and feared realms of existence.

The crow of Saturn has the ability to bring the dormant to wakefulness, by drawing that which sleeps from out of the old cot.

Anubis and the Heart

Saturn is power of the heart. The deep rich and heavy matured solidity of the heart is worth more than its weight in Gold. Weight has value. If something has weight, it has substance, depth and reality. 

The light and wispy life loses root and risks to dry up into an empty husk. Saturn, brings the nourishing weight of the grain that we should be harvesting if we are to avoid spiritual malnourishment. These words are hard, but Saturn is even harder. He is the weight that makes the Diamond.

The Egyptian mysteries tell of the Jackal headed god Anubis. Anubis also takes the form of an obsidianly black coloured dog. It is Anubis who is said to take the soul to the realm beyond life, when the candle of earthly life has been extinguished.

Anubis is the keeper of the scales of truth, just like Saturn, the scales that Anubis guards, reveal the truth and reality of the state of the heart.

In the hall of truth, the heart is revealed and seen naked, it is revealed to be either an empty husk, or a receptacle full of love. It all depends upon whether the heart has scattered itself in restless superficial fancies, or whether it has learned the deepest Saturn lessons of love.

Tantrics have tied themselves the deepest depths of the Saturn heart, by remaining in one place of timelessness for long stretches of time.

In the realm that Anubis carries the soul too after death, the heart is weighed for its true worth upon the Saturnian Karmic scales of Justice.

If the heart is light, empty and superficial, it outweighs the feather of Maat, this is the feather of truth. 

If on the other hand, the heart is full of weighted power and Saturnian depth, then it balances with the feather and reveals the power of the balanced wings of love, that can fly to the deepest depths of loves roots, as well as to sweetest fruit in celestial heights. 

The sweetest fruit and the deepest root can’t be separated. It is a spiritual law of nature in all the worlds. These laws belong to Saturn. He is the elder and teacher, who enduringly teaches the timeless laws.The Ancestral Journey  of the Crow.

The dark Moon each month is a time of ancestral healing work for Tantrics.It is the time when the veil that hovers over the portal between the ancestral and earthy plane is at its thinnest. The dark moon vortex draws us up to the ancestral world and reveals the tendencies of our heritage that live within us.
Shuni Amvasya then, becomes a time of revealing the most unconscious ancestral tendencies within us. Shuni is the lord of Karma who ever gazes down, his downward gaze reminds us that he sees into the deep roots of unconscious tendencies.This is a night of discovering the ancestral tendencies that move us from behind the scenes. 

Shuni is the planet Saturn, the dark slow crusher. He teaches us by bringing us to face limitation. He constricts habitual patterns and reveals the escape-routes we employ to evade reality. Shuni is reality.

He guides us into the basement of the soul.
Tantra regards Shuni as the master of all the planets because he brings us to face all our yet unresolved issues and Karmic lessons.

Shuni teaches by the force of weight, taking us with his weight into the depths of the unseen side of reality. He brings us to face reality without the trimmings or pleasant and distracting escape routes from the truth of the human condition.

If truth be told: 

‘Shuni is truth’

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If you would like to join one of the rituals
of the four-part series
we will run throughout the month of July



June 14, 2021

By the Power of the Smokey Widow

Oh Dhumavati!
You are the Widow goddess
You stand alone in places most desolate
You show us the power of facing the loss
of things we have lost and are yet to lose,
You reveal the power of the widow
that stands just one heartbeat
Before despair
Indeed you stand
beyond Despair!
To you we bow.

– Boonath

Dhumavati is the end of what is to be known. She is Jyestha, the elder one.
She so ancient that to talk of her wisdom and teaching, only serves to wrap her up in riddles, and so we will keep this presentation short.

Dhumavati is the intensely ugly Widow Goddess, bitter, barren and bereft of Beauty.
Her nose is beaklike, her countenance inspires disgust,
She is dirty, with only a few rotten teeth left, her breasts are empty and withered and she wears a perpetual scowl of an expression upon her face.
She is an elder Goddess, the grandmother of all goddesses it could be said.
Dhumavati is difficult to approach as she inspires deep disgust.
Yet Dhumavati holds the deep wisdom of age and loss.

Dhumavati has no peer and is distinct among Goddess as having no opposite.
She is a Shakti that is self-contained and stands alone.

Tales of Smoke and Widows

Smoke is an important element when working with Dhumavati. When invoking her, the more Smokey the better. Smoke is the secret key to Dhumavati.

Dhum in her name actually means smoke. Dhumavati is the one who is smokey.
She is born of the death of Sati in the fire. As Sati burned to death in what was to be her sacred marriage fire, she became the unobtainable widow.
Sati’s insulted and dishonoured spirit manifested and took form in bitter smoke. The smoke became Dhumavati; she who is born of smoke.

Another story tells of how Sati after uniting in love with Shiva, had started to live together with him in the Himalayas. Sati was always hungry as the Himalayas did not offer the royal dishes that she was used to.
One day she became so maddeningly enraged with hunger that she turned on Shiva and started to eat her way to widowhood.
Shiva Howled and fought his way out from inside her stomach until she could not help but vomit him out in thick clouds of smoke The enraged Shiva glared at her with his third eye and cursed her to lose her beauty. And so she shriveled up into an old decrepit hag with a terrible ever hungry and unsatisfied expression upon her face.

She is old and Wise

Dhumavati has the wisdom of years. She holds the secrets hidden by the smoke of time. She offers us time-honoured and weathered secrets that can easily escape the pursuits of the youthful striving spirit.
Dhumavati brings us to the places we might easily pass by and avoid. It is easy to view her realm as being devoid of value, for it is ugly, dirty, barren and widowed.
To venture toward her is to go into the places we would not usually go to.

Her age takes us to the wisdom behind the formulations of time.
Dhumavati teaches us of the wise acknowledgment of that which we have lost over the span of our lives.
If something is lost or dies, it is often a cause for lament. But it also holds the seed of the rebirth of another mode of being.
Dhumavati is the Shakti that shows us that when one thing dies, another is born.
The Tantric work with Dhumavati is to listen to the elder voice that exists at the crossroads of every loss. If we heed her aged being by learning to look with her eyes then and only then does wisdom grow.
Dhumavati can assist us is in our widowed parts. She shows us the need to go into deep feeling. She reveals the healing nature of mourning and facing loss and emptiness with feeling. She opens the creative power latent in that which we might all to easily choose to turn away from.

Dhum Dhum Dhumavati Svahh

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June 14, 2021


Jyestha Nakshatra is the elder star sister. The word Jyestha derives from ‘Jye’, which means ‘the eldest and the most powerful’. Of all the 27 star sisters who are the Nakshatras, Jyestha is the eldest.

The main star of this Nakshatra is the brightest central star of Scorpio, which is known as Antaris.
This is the heart of the scorpion. It is a star emits the infrared frequency and appears slightly red in the night sky and most visible in spring, it is particularly visible at the end of May, when it is opposite to the Sun.
The ancient star-gazers of China envisaged Antaris in the constellation of the Dragon, and referred to Antaris as the fiery star, on account of its red glow.
The Name Antaris, comes from Latin and means ‘not Mars’, or ‘anti-Mars’. The planet Mars comes close to Antaris in periodic cycle, every two years. They both share the red colour but Antaris is not-Mars.

The Heart of the Scorpion

Jyestha Nakshatra is the heart of the Scorpion. This fits very well to the energy of this Nakshatra as we shall see. The Scorpion is a mysterious creature of mystical and frightening fascination, unique in that it carries its sting in the end of its tail.
The scorpion is a symbol of dark toxicity and alchemical and occult secrets. Just like the star of elder wisdom that is Jyestha, scorpions are believed to be one of the oldest land animals. Fossils have come to verify this. Very fitting that Jyestha means ‘the eldest’.

We see the principles of alchemy at play in the scorpion, when we consider that scorpions are nocturnal creatures that gather energy from the Moon. Scientists have postulated and found that the whole body of the scorpion is one big eye, with which it is able to navigate in the deep dark after having stored up visual power through absorbing lunar rays. They appear startlingly bright under ultraviolet light, and they grow in their night-vision by the lunar energy they absorb.

Old and Bitter

The Old Finger

The middle finger is considered the eldest finger by Tantrics. It is generally the longest and most developed finger, hence it being the Jyestha finger.

In the astro cosmology of the Yogins, the 27 Nakshatras married the Moon, but they felt a sense of injustice when the Moon’s attention was not shared equally with all of them, but given more to Rohini.
Jyestha, the eldest amongst the celestial sisters, was the one who suffered extreme jealousy at the injustice and ended up complaining about the unfairness of the Moon. This caused the Moon to be cursed to a life of waning away. Jyestha came to regret this curse that her sting had initiated against her beloved. The Moon was saved as the curse was mitigated. The Moon did not fully overcome the curse however, and so thereafter had to undergo the cycles of waxing and waning.

Jyestha Nakshatra is opposite to Rohin. They are literally at opposite poles of the zodiac. They are opposites in many ways. Jyestha is an old wise crone of a woman with the potential for a competitive and bitter scheming nature, whereas Rohini is possessed of sweet innocence and creative fertility.
One sister has the fresh outlook of youth and a spontaneous wisdom that is not burdened by time and experience. The other sister has the weight of experience and the weathered experience of years weighing heavy upon her back.
That Jyestha is opposite to Rohini in the sky is of much consequence when understanding the energy of Jyestha Nakshatra.
The elder Jyestha watches the young sister carefully, and the elder can become bitter when she feels that the experience and wisdom that she has earned with age is disregarded.

This brings us to the lesson of Jyestha. This Nakshatra is connected to the wish to prove ourselves, and is prone to paranoia and jealousy. Jyestha Nakshatra rouses our unresolved themes connected to competition, paranoia and jealousy.
Working with Jyestha brings us the ability to gain the vision of our inner conflicts and battles. Jyestha brings these inner battles and conflicts out of us and into the field of our manifest lives.
Our inner conflicts and battles are what make up our scorpionic sting, and they also the cause of us ourselves the receiving the sting.
The scorpionic sting within us can backfire upon ourselves. But by cutting off our sting, we kill the ancient potential of the scorpion. By cutting off the sting and smoothing over it with niceties we risk becoming old and bitter.

Suppressing or denying
the sting in the tail of the scorpion
causes an internal poisoning
that manifests in bitterness of the Heart.

The sting is a danger, yes. Its free expression depletes us and wreaks havoc. Handling potentially dangerous power is the wisdom of the elder. Wisdom is denied, if the sting is denied. Fighting the sting, or sugar-coating it, is an insidious form of denial.
By knowing how and where and to apply our agonies we can turn them to the profoundly of time-honoured power and artistry within our lives.
The agonies of the spirit hold great potential, if they are handled with care. They have the potential for both creativity and destruction.
The sting in the tail of the scorpion is a formidable force. On the one hand, its untamed expression leads to destructive results, and on the other hand, restraining, denying, destroying or seeking to blanket over the sting within us also leads to destruction.
Harnessing and working with the power of the sting within us, without wishing to destroy it or deny it, ‘is’ the great elder potential wisdom of Jyestha.
Locating our sting is the first part in the steps to the wisdom of Jyestha. Identifying which stings we hurt ourselves or others with, is a path of discovering our karmic essence.
What is behind our tendencies, becomes revealed as we investigate our sting. This leads us deeper into the wisdom of the elder that is known as Jyestha.
Jyestha is the queen. We come to our royal power through her initiation. The initiation of Jyestha is about coming to our real size. By neither downsizing, or over sizing our capacities and authentic expressions, we take a seat upon the royal throne of our true power.

The Power of Talismans

Amulets, Earrings and Umbrellas

The Talisman is the symbol of Jyestha Nakshatra, along with earrings and an umbrella. There are several relevant stories that relate to Jyestha that hi-light this. Here we shall look at one, or perhaps two, of them.
The sacred amulet has been prized across cultures. Sometimes the lucky charm is an object that is found, or it can be something that is prepared through ritual empowerment.
Healers the world over have prized these objects of power, and have used them as tools for healing, protection or blessing.

Amulets have the ability to ritualistically focus the mind and awaken power. Awakening or having power is one thing, but the ability to hold power and harness it wisely is another thing altogether. The stories that relate to the Talismans of Jyestha stress this point very much.

Amongst Tantrics, objects of power are given as indicators of initiation, sometimes they are handed on and earned. The belief that an object can be imbued with power spans the world over. Within Tantra there are many detailed and sometimes complex formulas for imbuing objects with power with energies, so that they can serve as healing instruments and objects of power.

It takes time and wisdom to imbue something with power, and is no overnight thing. In the same way it takes time and dedication to earn and learn a skill, so it is with the amulet.
This is the meaning behind it being the symbol of the elder Star Jyestha. Like the wisdom of this Star, an amulet is a time honoured thing.
In the circles of Tantra the secrets aren’t given easily. They can’t be claimed or bought, but are to be earned and gradually received through slow-time honoured application.

In the Mahabharata epic, there is a story that tells of the protective earrings and armour that belonged to a warrior named Karna. Karna was the child of Surya (the sun) and inherited the armour and earrings that made him invincible from his solar father.
Indra took the earrings and Kavach (protective talismanic armour) away from him.
It is important to remember that the main protagonist on the battlefield in the Mahabharata is Arjuna, who is the son of Indra.
Whether Indra was protecting his son, protecting his own throne, or had other reasons for taking the protective armour and earrings, is a worthy subject of study and meditation.
The Mahabharata is all about the strategies of spiritual life and psychic warfare. It takes much spiritual strategy to grasp the deeper meanings of the codes inscribed in the Mahabharata. The deciphering of its wisdom is earned with time-honoured contemplation, study and introspection.
We see one example of the protective talisman here in relation to the Indra. Indra is the king of the Devas and the ruling deity of Jyestha Nakshatra.
Another story tells of the robbery of the earrings of Indra’s mother Aditi, by an Asura named Narak. Again the earrings were a powerful protective talisman that in this instance enhanced clairaudience.

A contemporary take on the umbrella-shaped Jumka earring

Let’s look at a story that tells of Indra and a protective umbrella. Indra owned an umbrella that was, like his mother’s earrings, also stolen by the Asura Narak. But in this story we are dealing with a different umbrella.
Once upon a time the farmers were preparing a mass ritual with many offering to Indra. Indra is a thunder god who also controls the rain.
The ancients were in the habit of giving spiritual offerings to the deities who stood behind the expression of natural phenomena. The farmers depended upon the rains and so they gathered in ritual, to give power to the god who controlled the rains.

Krishna is known as the cosmic trickster, who managed to convince the farmers that their offerings were a waste. He asked them rather to feed cows and each other with the ritual offerings. Krishna told the people to forget these old customs of offering honour to the gods. The farmers feared that by not honouring the gods with offerings the gods would be malnourished and start to demand things and retaliate in unfavourable ways.
Krishna laughed it all off, and his laughter was so contagious, that the people went along with him. And so the animals and people enjoyed the feast and offerings that were meant for Indra.

Meanwhile, Indra did not receive his expected offerings of energy and devotion, and so he decided to look into the matter. Needless to say, he was furious when he saw the farmers making merry, not only withholding their offerings, but enjoying them themselves. Incense was burning and feasts were distributed all amongst themselves and the cows.
Indra grew jealous of the young child Krishna. This young child who thinks that he can upset the cosmic order enticed Indra’s wrath.

Indra mounted his elephant, Airavata the storm elephant, and together they charged the skies. Airavata can expel water from his truck at the speed of light, and has the power of storm clouds in his flight. He usually guards the doorway to Indra’s paradise and has many tusks and trunks. So, in a fit of vengeful rage, Indra rode wildly upon Airavata and together they let loose thunderbolts and torrents of rain.

The Samvartak, as it is called, is the mighty storm weapon of Indra. It releases thunderous roars of electric and ice. Indra did not hesitate in his intention to destroy child, woman, man and cow, along with many other creatures. Indra in his frenzy, he sought to punish them for consuming and enjoying the offerings that he believed were rightfully his.

The villagers feared drowning and death by lightening. Krishna continued to laugh through it all, and lifted the sacred mountain Govardhan upon the fingers of his left hand, creating an umbrella for the farmers and creatures to be safe. Indra applied the full force or storm for 7 days and 7 nights.
The Govardhan mountain is the mountain of the cows that is sacred to Krishna.
‘Go’ refers to cows and ‘Vardhan’ means ‘that which nourishes’. Krishna is the keeper of cows, who are the symbol of motherhood and nourishment. Krishna himself means the dark one. He is the cosmic trickster who poses unfathomable riddles to the mind and captures the heart.

When Indra could not prevail he realised that the young boy was no ordinary child, but an incarnation of Vishnu the preserver. Indra accepted defeat and offered Krishna a divine cow and gained pardon for his cruel, overactive and unjust behaviour .
This story of the protective mountainous wielded by Krishna, highlights the themes of Jyestha very well. The talismanic-mountainous-umbrella saved the people with the real matured and elder wisdom of Jyestha Nakshatra. The behaviour of Indra, the god of Jyestha, on the other hand, fell into the rags of jealousy and conceit. But Indra did realise that he had erred and bowed low and learned a lesson by shamefully taking account that it was no way for an elder king to act.
Jyestha is invested with power. It’s power can selfishly initiate drama and suffering, or it can be a wise protective beneficent force, as the story shows.

Protecting the Throne

I’m the King of Paradise

Indra is the King of the Devas who is given to enjoying the luxuries of his realm of Paradise. He likes to consume and become intoxicated on large amounts of Soma. Already as a child, he was stealing supplies of it to quench his thirst. Indra encapsulates the haughty narcissistic power drive of Jyestha Nakshatra.
Like Jyestha Indra has power, but it can be executed with a sting, as illustrated by the story just told.

Indra means ‘ruler’, ‘leader’, ‘someone with power’, all of which he is. On top of this, Indra is handsome with a golden shine to his skin.
He will stoop to very underhanded means to get what he wants. Once he desired the wife of a great yogi, and shape-shifted to resemble the yogi and had his way, but he brought a curse upon himself. Another time Indra was too busy enjoying merriment and Soma drinking that he ignored his Guru and lost his blessings, after which Indra fought ruin on himself and had to undergo terrible ordeals to set things right.

Indra represents the soul who grows through his mistakes. He makes many mistakes that cause great suffering to himself and others, but he bares the consequences and grows wise in the predicaments and burdens of the consequences that life exacts from him.
Sometimes it seems that Indra never learns and is just too full of his own power and royal standing. The dangers of Jyestha are revealed by his star. With power comes danger. Having the upper hand and the sting of the scorpion on one’s side can corrupt. The deepest lesson of Jyestha Nakshatra is to hold power wisely without brandishing it proudly and without unnecessary display. Power is lost, if it is not kept wisely.
Arohan Shakti is the power of Jyestha, this is the power of conquest, dominance, leadership and the King. This power comes from the solar-plexus Chakra. Power imbalances and struggles can show themselves in the solar plexus that is not in balance. Learning about handling power is the balancing of the solar-plexus Chakra.

The power and integrity of the royal overseer is the ability to articulate between the realms, and have awareness of the predicaments of his subjects.
Indra’s Nakshatra is ruled by Mercury and this presents an important point.
Mercury is the only planet that is friendly to the planetary adversaries that are Saturn and Mars.
Indra has the power to bridge opposites, he literally is a bridge between these opposite energies. His apparently ambivalent nature, that articulates between the dark and light themes of Saturn and the Sun are explicit in the stories that deal with Indra and his exploits. Indra is sometimes a brutal punisher like Saturn. He is as magnanimous as the Sun, and lives the extremes, often to the detriment of himself and others. He is a candidate undergoing the initiation of Jyestha himself.

Indra’s Nakshatra is in the midpoint between water and fire. This is known as the Nakshatra Gandanta point in the zodiac. Ganda implies a knot and Anta is the end. The Gandanta points are the junctions between the opposing forces of water and fire. They represent the coming to the very ends of karmic lessons.
Water and fire create steam. Indra rouses much steam in his wake and is in fact the controller of the clouds.
Gandanta points are powerful stations where Karmic knots can potentially unfold the themes that keep the second and third Chakra separated.
This Gandanta point represents the point between the water ruled sexual Chakra and the fire ruled solar plexus Chakra.

One relevant story of Indra hilighting this junction tells of him overcoming the giant serpent Vritrasura. This was one of Indra’s greatest conquests.
After Indra beheaded his Asuric Guru, the father of the decapitated son, enacted revenge by summoning Vritrasura.
Vritrasura was a giant serpent that brought drought by holding the waters of creation in his giant belly. The battle between Indra and Vritrasura went on for a whole year and in the end he swallowed Indra whole. The place where Indra broke free from Vritrasura was in the belly, between the watery and fiery Chakra. The serpent died as Indra broke free of his oppression. Indra overcoming the serpent represents his initiation of opening the Karmic Gandanta knot between the two Chakra’s.

This principle of bringing adversaries together is also visible in the relation between the opposite Nakshatras of Jyestha and Rohini, which are at opposite poles of the sky. Rohini is in the most auspicious yielding fertile side of the zodiac. Whereas Jyestha is in the inauspicious part of the zodiac that is concerned with power, conquest and dominance.
One star is Aldebaran, the red star, in the eye of the Taurean bull (Rohini), and the other is the red star Antares, on the opposite side, in the heart of the constellation of Scorpio (Jyestha). Both are giant red stars, with one pole representing the elixir of life, and the other representing the poison. Rohini represents the teachings of Lakshimi, and Jyestha represents the teachings of Alakshmi.

Rohini represents the Devas
& Jyestha represents the Asuras.

We see that Indra had many dealings with the Asuras. After he managed to offend his Guru and lost his sacred protection, he even hired the servers of an new Asuric Guru to help him maintain his Paradisal realm.
On each side of this zodiacal belt, these star poles walk together on the path of wisdom. Each star has its own lessons, along with its pitfalls and potentials, as we shall see in the next section.

The Hare

An Elder Creature

The hare is the animal of Jyestha Nakshatra. Tantrics consider the hare an elder creature with the wisdom of years behind it. The hare is nocturnal and unlike a rabbit doesn’t care for the protection of the social burrow.
Hares come out in spring. The saying ‘Mad as a March Hare’ highlights their behaviour at the height of their breeding time in the month of March.

Although they breed for half of the year, the month of the spring equinox is the time when they are most active in daylight hours. Almost as if they come to actively meet the beginning of the waxing year. They undergo some quite extraordinary mating rites that reflect the nature of Jyestha Nakshatra.

The female hares will test the male to the extreme buy running him to the point of exhaustion. Hares can reach speeds of 80 km/h. They then will fight in the famous boxing manner that they are known for to further test the power and endurance of the male.
Jyestha Nakshatra is the old formidable crone that tests how far we have come in terms of wisdom. Jyestha is a feminine energy that cares to raise our potential and, just like a female hare, will test us by exposing our weak-points on our march through life.
Easter and its association with the Hare, or Easter bunny, becomes clear in this light of the rising light that the spring equinox brings.
The hare has a highly solitary nature just just like Jyestha Nakshatra. When Jyestha is in orbit, the energy of introspection is beamed to us on earth. This is the introspective scrying over the past and gaining insight into the nature of the soul wandering through the fabric of times many weavings. The statements made by our life experiences can come to define us, for better or for worse. The wisdom of the crone is the ability to unstitch the soul from the fabric of experiences that it is woven within. Freedom exists in studying the defining stitches that keep repeating and weaving ever onwards into the tapestry of our life.
If we find we are repeating cycles over and over and over, then we are crossing a habitual stitch and freedom is but a fancy word.

Ready Matured

Eyes Wide Open

The hare is one of the few animals born with eyes wide open. It is literally born as an elder and very fittingly so, for it is the assigned creature of the elder Nakshatra of Jyestha.
The hare is a creature that is born mature. It has minimal support from its mother and can even manage – if left on its own – very soon after birth.
Most creatures require a period of days or even weeks to even open their eyes and start to move effectively on their own. But the Hare is ready to jump shortly after its birth, with vision already developed.
The eye is central to Indra the ruling deity of Jyestha. Indra is covered in eyes and has a hyper awareness that watches carefully from all directions for opponents to his throne.

The hare also shares a connection to Indra through its sexuality. The hare has often been taken as a symbol for sexuality and fertility.
The hare reaches sexual maturity very soon in life and has a prolonged mating season that lasts half the year. Science has come to discover that the female hare has two synchronised ovarian cycles which gives it the ability to become pregnant while already pregnant.
The hare was connected by the ancient Greeks to the goddess Aphrodite, on account of its sexual and fertile nature.
Indra too is known for his legendary sexual conquests that were the cause of him being cursed to have his reproductive organ fall off and his body to be covered in a thousand Yonis.
The story tells us that he fled into hiding until the curse was mitigated by celestial intervention. He was given the reproductive organ of a ram and, into each of the Yonis, was put an eyeball, with which he could watch potential opponents from all sides.

The Generational Curse

Stirring Cyclones of Time

Jyestha Nakshatra illuminates the wisdom that we carry in the deep recesses of the Soul. Its wisdom is not of an abstract metaphysical kind. Rather, it is the kind of down to the bone type of wisdom, based on the lessons we have really learned through experience.
Age and time does not indicate that we have actually learned the lessons that destiny puts on our path. Sometimes we may even grow blind with time. Indeed, we might do well to take the introverted gaze of Jyestha and look back upon the cycles of time.

Are we repeating the same cycles as we did in previous years?
Sometimes the format might be different but the cycle is the same. This is how the generational curse gets passed down the line. The old saying that ‘the sins of the ancestors are visited upon the young’ is a very apt phrase for Jyestha. She is the old woman who holds the key to breaking or making the generational curse.
Elders have a big spiritual task in the Tantric tradition. As they grow closer to the spirit world and come to learn the lessons of destiny, they can potentially unlock astral doorways and energies that the next generation can benefit from. If they don’t resolve the cycles of what destiny is repeatingly showing them, then they don’t open the astral doorways and may even put more locks in place for those in their line.

The question here becomes: what are you repeating? Are you following the same pattern and rhythm as you were in past cycles? Jyestha is an energy that can’t be tricked. She is an ancient beady-eyed old hag who has her eye on all the tricks and strategies of the trade. She sees all the routes that we take to avoid facing wisdom. Jyestha is so old, that running is no longer an option. She tells us that sometimes the form might change but the energy has not been resolved. She asks us what are we brewing up and handing on?

An example of this would be that we step out of a life of riotous living fuelled perhaps by drink and drugs and destructive relationships, and step into a healthier path of spirituality and herbal tonics. We might have really resolved the form but not the underlying energy. If the energy of drama and ungrounded hysteria still informs our life, then the form has been changed but the heart still beats the same old tune.
When the destructive pattern and rhythm of past cycles is not resolved, then cycles turn into cyclones that keep us spinning in the same old!

The Tale of the White Hare

Sweet and Bitter

The old English folktale of the White Hare, very interestingly encapsulates some of the key principles of Jyestha Nakshatra. We have seen how Jyestha shares a jealous and vengeful relationship with her opposite, Rohini.
Jyestha is the old white haired women, rich with the wisdom of the years upon her. She can have a tendency to become bitter and vengeful, if she feels she is not honoured.
Rohini, at the opposite pole in the sky, is the young maiden, red with life and blood, being innocently fresh and inexperienced is her charm.
In order to grasp the lessons of these Star sisters they must be considered and taken together, their opposites teach us of each and the other.
The old folktale of the White Hare ties together the opposites, reflected in the principles of ripe innocent maidenhood turned sour with intrigue and embittered experience. This here attempted retelling of the story seems rather fitting in this context.

Once upon a time there was a young maiden. She was rosy cheeked with crimson lips. Her eyes were like fresh sparkling pools of blue topaz and she wore a woven magenta cape that had been handed down for generations through the line of wise women behind her.
Her cape was a blessing for it had been stitched and repaired by many a wise hand and held intact, never had the hands behind her allowed it to fray or wither, even across generations.
This young maiden was body, heart and soul in love with a local boy. Together they frolicked through grassy pastures under many shades of sky.
They would sit silent together, drinking the juice of fermented apples by the river, and watch the March hares play their games, and then fall asleep together under the azure sky of fresh spring nights.

Their love was pure, their love was sworn,
But sometimes good things get ravaged and torn
Gone was her love on the morn
Leaving her broken heart to tragic to mourn

She learned that he had run away
with another girl astray

and gone to seek his fortune elsewhere.
How did he dare, how did he dare!

Betrayed, abandoned and forlorn
With time she took a look of scorn

In bitter hours she passed many a day
Her mantle soon began to fray

She didn’t care to stitch its wounds
And met her death in misery doomed.

Her bitter spirit once so sweet would not rest, and she hunted him down. She would appear to him first in troubled dreams as a white Hare, reminding him of the last nights they spent on the cool nights of Mach at the riverbank, reminding him that to forsake love is a destiny that leads to destruction.
The young man had grown worldly wise and forgotten about his past in the present wheelings and dealings of daily affairs.
Yet he was haunted by an eerie feeling that something had been left behind, or had been forgotten. Try as he might, he just could not recall what it was.
Each time he would have these reveries that something was amiss, the white hare would appear out of nowhere and cause a stroke of bad luck.
Sometimes a horse would run away, or some other incident of ill luck would follow. What was even more peculiar was that no one else seemed to see the white hare but he, they joked that he had probably seen a ghost.
The tragedies that came with the sighting of the white hare got more and more extreme, the ruin of his livelihood was soon followed by a bad accident, and then the death of his now beloved.
He became more and more paranoid, unstable and fearful of mind as he sank into an abject shadow of his former self.
One winter morning as the sky carved upon itself and covered the land with snow, he was found mangled in a frozen pool of crimson blood.
As crimson as the lips of the love he had once cruelly forsaken.
The local folk were confused when they saw that the footprints of his runaway horse were followed by those of a hare.
The wise amongst the townsfolk knew what it had meant all along and right unto the end.

Hara Ring




June 9, 2021

And who by fire, who by water
Who in the sunshine, who in the night time
Who by high ordeal, who by common trial
Who in your merry merry month of May
Who by very slow decay
And who shall I say is calling?

L. Cohen – Who by Fire

Krittika Nakshatra translates as ‘the cutting star’. This Nakshatra spans Aries and Taurus. Its ruling planet is the Sun and its presiding deity is Agni, the fire god.

The Pleiades is the star constellation of this Nakshatra. They are the 7 mother stars, who as legend tells us, mothered Kartikaya, the warrior god of Mars who fights and battles to establish cosmic justice.

On the Dark-Moon ritual night of Shuni Jayanti, the Moon will be in the lunar house of Krittika. In the year 2021, Saturn is in a place of power, as he is in his very own of Makar Rashi (Capricorn). The next time he will be there, will be in 12 years hence. 

We have a particularly strong planetary focus on this ritual day for the energy of Saturn, Mars and the Sun are at play – in the India astrological wisdom the Sun is considered part of the Navagraha, the nine planets, along with the South and North Nodes of the Moon.

These 3 planets are the hard teachers that carry the heaviest and most valuable lessons to us. 

Furthermore, we have Surya Grahn – the Solar Eclipse. 

The Shadow entity Rahu is in force at the solar eclipse. Ketu also aligns to the dark Moon time of opening the door to ancestral forces.

To say that
this is an extremely potent
ritual day
would be an understatement.

At such potent energy junctions the ancient Yogins have advised to take advantage of the portal to the depths of the self that is offered.

Fasting and staying indoors is prescribed for eclipses by Tantrics.

Saturn is the protector of the feminine. In the stories he burns the sun to blackness in honour of the forces of the Shadow and the feminine. Remember that his beloved is Damini, the mistress of all feminine arts, and another aspect of her is Neela, the sapphire woman who is so close to him, that she lives within him. 

Neelam is a Saphire and it is her stone, interestingly, it is said that a Sapphire magnifies the power of Shuni.

This is a Time when the deep-most Saturnian feminine aspects in us are revealed and drawn out by the shadow forces of Rahu and Ketu through Mangala (Mars)  

Visually the form of Krittika Nakshatra constellation of Pleiades bears a striking similarity to the 7 stars of the Saptrishi (Big-Dipper). We will look deeper into why this is as this text unfolds.

Legend tells us that the 7 Krittika stars were once the lovers of the 7 Saptrishi stars and dwelt with them in love. 

The Saptrishi are described as the 7 wise men. Fiery intrigue ensued when Agni fell wildly in love with the seven Krittika star women. The result of the intrigue was that the Krittika star women became cut off from their former lovers and moved to another portion of the sky. 

They retain the similar shape of the constellation but exist light-years-of-love apart from their former loves. They literally are cut off from their past loves. Kritt, contained in the word Krittika, literally means ‘to cut’.

The Krittika are the sharp cutters prone to fiery, sharp, burning and singing extremities of action.

This star constellation brings us the teachings of fire and its wise handling.


Laws of the Flame

Fire requires fuel. Fire extracts the essence from fuel it transforms, while providing heat and light. A good relationship to fire and the laws and principles of fire is needed for psychic and physical health.

The spiritual work with fire, and the study of the principles of fire, is not an intellectual pursuit. It is a deep investigation into the nature of the laws of energy itself.

The forces of Krittika Nakshatra functioning well, in her sevenfold power, makes one powerful and gives the fuel of fire. When we have fire, we can spread it through our lives. The seven stars of the Pleiades relate to the 7 fires in the 7 chakras.

These 7 star women are the 7 Shaktis of each Chakra.

How we handle
the power of fire
is paramount
in both spiritual
and physical life.


Malfunctioning Krittika energy is the opposite of living well. When our relationship to the 7 flames of the Chakra’s is not healthy, then the laws of fire are to be considered. Establishing spiritual rapport with the 7 mother stars of Krittika Nakshatra, gives birth to the corresponding flames in the 7 Chakras. 

Upon the Dark Moon that is upon us in the Nakshatra of Krittika, the fires of chakras are called from us to burn in the last dark moon of the waxing half of the year. 

When our relationship to Krittika malfunctions, we have that feeling of being burned out, feeling hot and itchy but essentially tired and lacking in power.

We sometimes might see that we switch between these states of healthy fire and burning-out, or sparking-out.

Fire can either make us smooth, warm and enduring, or nervous, restless and rushing – these latter 3 are the quality of a weak connection to the Laws of the Flame. 

This is the fighting to stay aglow, reaching hungrily for scraps and twigs to effectively stay aglow. 

Which scraps, twigs do you reach for when your fire burns out of hand?
How do you light your fire when it’s burning cool?
How do you cool it when it’s burning hot?

Fire becomes expansive with plenty of fuel behind it. A well-considered rhythmical supply of fuel in backup is part and parcel of keeping the stove going. This applies in a spiritual sense, as much as in a household sense.

We wouldn’t by choice be reckless about a supply of winter firewood, if we lived by the stove. Are we equally as conscientious with the supply of spiritual firewood? Or maybe we believe such things are of little import?

For the Tantric, the spiritual fire is of great importance. The laws and principles of fire are a primary study for the Tantric practitioner. 

Knowing all about how to generate power and spiritual propulsion is a question of understanding some obvious but easily denied laws of fire.

Honouring the laws of the flame makes us powerful, effective and royal in all areas.


Putting out fire with Gasoline

Let us consider the nature of Krittika Nakshatra by looking at its ruling deity who is the fire god Agni.

Agni is the deity of Krittika Nakshatra.

His name means ‘fire’. It also means ‘foremost’. Indeed Agni’s fire plays a foremost part in many Indian rituals and rites of passage. Birth is commemorated by the lighting of lamps. Weddings involve 7 circumambulations around a sacred fire, each circumambulation representing the taste of the flame of each of the seven chakras that Agni tastes with his 7 tongues. It is also Agni who conveys the dead across the sea of life at the time of death, in his presence in the funeral pyre. Indian culture has always burned the dead and never buried them.

Agni has 7 tongues of flame and has a voracious appetite for experience.

The scriptural stories often tell how he suffered indigestion because of his over consuming habits. He rules the digestive fire.

Agni’s appetite for everything is vast. A single woman was not enough for him. He fell in love with all the 7 Krittika star women (Pleiades) who were already married to the 7 Saptrishi’s (Big Dipper). 

Agni is the fire of experience that is drawn to experience and taste all things. 

The seven Krittika’s represent the 7 Shaktis of the 7 chakras. Agni has 7 tongues of flame that long to taste in all 7 directions. 

One specialism is not enough for him, he longs to taste the essence of life in all its divisions.

Awareness of time, along with the awareness of our capacities within the realm of time is needed if we are to taste far and wide. Without this awareness, indigestion and overstimulation of a psychic nature can occur. 

Without the wisdom of timing, and without selecting a well measured and well considered channel for our fire, we can lose the wisdom and geometry of rhythm, and risk scattering and dispersing our energies with little outcome. 

Of course, fire does not care to hear this, it couldn’t care less for well proportioned considerations. Fire likes the gear of action. Fire likes to put itself out with only gasoline.

The solar force is disproportionately pronounced in the world culture in which we live. The time we spend in the light and in solar pursuits, usually outmeasures the time given to the cooling night forces.

An extended period of light through electrical means, overstimulates the solar plexus and arouses active energy within us.

An over emphasis of fire in our nature, is an imbalance that runs the risk of eclipsing the receptive night forces, this can put us out of touch both physically and spiritually with the nourishing forces of reception and femminity.

The teaching of Agni is to balance the feminine and the masculine energies. Although Agni is often described as being male, he has androgynous qualities, as we shall soon see.


The Cooling Night Forces

The heat and burn of fire is attractive and stimulating, but too much fire spread too far and wide creates superficiality. When the soul is drawn into the realms of superficiality it seeks ever more fire and experience to fill its empty gaping pit of hunger. 

Seeking action and life experience might easily become a motto for the experience-hungry-fire that, in actuality, is not really driven by wanderlust, but rather by its own emptiness. 

Heating fires abound on all sides. Coffee is served on every corner and sugar saturates the modern diet and creates unnatural fire in the system. 

Music to stimulate the life rhythms is hard to escape in the metropolis. 

Even fast-track spirituality is available in sensationally effective courses, with  abundance of exotic plants offering quick realisation in the spiritual market place. 

At the extreme end of fire we have chemical intoxicants and substances that stimulate the senses and give the illusion of equipping one for life when, in fact, the effects are rather different and, in some people, turn them into a frantic aggressive person. 

The same could be said in some measure, of all the above listed things that feed the flames of an unnaturally inclined solar-dominant word-culture. 

The price of all these fast measures, cited above, is quite high upon the heart, body and soul. Hot and fast seems to be the motto of modernity. But Tantric’s seem to attempt to gain admittance to the sometimes forgotten realms of coolness and slowness.

Solar, active, sunny, bright and fiery are considered powerful words, but their opposite lunar, moony, passive and dark, are all too often designations of insanity, weakness and badness. It does well to ponder the reason why the womb-deep, feminine, cooling, nourishing-night-forces are given such a bad wrap.

A look at the way that the most ancient art and science of childbirth is handled in the modern era will reveal much. 


The Cooling Night Forces

The lesson of Krittika is to be cautious not to lose oneself in the pursuit of wanting to experience life. 

To know the right measure of a thing is Wisdom. This would be the fitting axiom for this Star lesson.

Restraint and suppression of desire is not necessarily what is meant here. Rather, harnessing the fire of desire and pausing to get the insight into the nature of fire. Fire spreads and consumes. The lesson of fire is how can it burn freely without becoming destructive?

It takes insight and forbearance to pause in the midst of heat, to see what is going on. Without the pause, fire can rage and consumes. To work effectively and safely with fire, takes a sober knowledge of one’s capacities and the effect of phenomena upon us. 

This sounds like a very simple matter-of-fact level of base reality, and it is, but why does this obvious knowledge of measures and effects and causes evade so many?

Might it be that the over-handling of fire in our lives burns the nerve endings of the spirit unto numbness?

A comfortably numb state of being poses no risk. In such a state, fire can be swallowed in a mindlessly rampant and flaming march through the circus of life. 

To handle the forces of our lives,
a sober glimpse of reality is required.

Striving sentiments have no place where reality is concerned. To choose wisely and with insight from the variety of ‘isms’ that are broadly on sale in the pick-and-mix shopping centre of life, is needed in the art of handling fire. 

Without sobriety, and the insight into the nature of fire, the indiscriminate mix and pick of fiery ‘isms’ can merely create a reality made-up of masks upon the face of reality.

Fire must be denied in order to know its power. Fasting introverts the physical fire and gives us insights into our fiery power. Fasting from activity has been a favourable past time of Tantrics. 

In the suspension of action, we glimpse into the nature of stray sparks that throw us and our true will, along with their fire fly motions.


Digesting Life’s Experiences

Agni rides upon a ram. His power animal is an indicator of Agni’s active charging power. A ram is a creature that is imbued with a tenacious spirit. The force of the ram burns outwardly in the solar doings that keep us in fiery motion. As we have seen the Tantrics work to discover that the solar force can be introverted with a view to discover the mysteries of the inner spiritual realms. 

The golden rams fleece that was dearly sought by Jason and his band of Argonauts in the ancient Greek Odyssey might well represent the secret wisdom of spiritualised fire.

The key to the lessons of the Nakshatras are revealed in their deities, who present an encoded teaching in their being. 

Each deity has a Vahaan with them. This is a power animal that represents their essence. By studying and meditating upon the animal connected to the Tantric deities we get further insights. Agni rules the digestive fire and transitions between realms from this solar station. 

The ram is a creature with an interesting digestive system. It is well known that they can eat and digest almost anything, including thorns, wood and other normally inedible substances. Rams express a powerful digestive tenacity. They have the ability to swallow large clumps of wood and store them, only to later regurgitate what they ate and chew on it some more, and again sending it back into one of their 4 stomachs. Just like fire that extracts the essence from something, rams are highly refined extractors of essence. This gives them a tenacious enduring spirit. 

This holds a lesson for us, if we carefully consider the symbol. 

By being very thorough about things and chewing continuously on the phenomena that life feeds us, we generate great power and endurance in ourselves. This is the power that awakens Kundalini and can take us deep into the spiritual realms.

It is known that rams and their relative species can climb to mountainous heights that few can reach.

The secret potential of the ram is to extract the most hidden essence from something. The Ram in us that has not touched its potential might scoff things down and extract nothing nutritious from its existence. Tantrics honour the god of fire by honouring the ram that he rides upon. They honour him by chewing carefully on all experience.

To swallow blindly
is the path
to spiritual indigestion.

Agni is the masculine fire force in its purest form. Agni longs to know the feminine in all her Chakric aspects. He literally burns for the feminine. He can’t help falling in love with the feminine mysteries. The 7 Krittikas are also known as the 7 Matrikas (mothers), which are probably at the root of the word Matriarch.

As already mentioned, they are the Shakti of the seven Chakras. We are dealing with a powerful feminine star constellation that spiritually exerts an impact on the 7 chakras through interacting with the 7 glands of our glandular system.

The 7 Matrikas
can be thought of
as 7 types of desire.

Agni has two heads that point to the dual nature of his being. His nature is fire, and fire has two expressions. One is heat and the other is light.

We see these expressions clearly expressed in fire and in solar force.
His two heads also represent these two aspects of the fiery Manipura Chakra.
Agni is the jewel in this Chakra. Manipura literally means place of the jewel.

He rules over the Manipura Chakra of the Solar Plexus with his dual nature, receiving light nourishment and alchemically turning it into the expression of heat. Agni is a synonym for the digestive fire in which he dwells. The Solar Plexus Chakra receives the light of the Sun and expresses the heat of Mars. This brings us to another fiery deity connected to Agni and the Krittika constellation.

Kartikaya is the active expression of fire. He is the heat of Mars. Kartikaya, or Krittikaya, takes his name from Krittika. They are the mothers who raised him, as we will see in the next section. He is pure hot heat. So hot in fact that even the river Ganges could not hold him.


Child of the Stars

Kartikeya is the 7 day old child, who was foretold would save the Devas from destruction at the hands of the Asuras. Yes 7 days old, so powerful was he.

The story is complex and comes in several variants. Here we will simplify it to the basics and set aside some of the interesting and numerous details for another place.

The Devic world was under threat and there was no being powerful enough to save them. A child born of Shiva and Shakti would have the necessary power.

Kartikeya has more than one mother. He was born of Shiva and Pharbati’s love after aeons of effort and many celestial interventions. Yet Kartikeya grew in the womb of Agni and was raised by the Krittika star mothers. The root of Kartikeya is Kritt (to cut), he is also called Krittikya. The child of the Krittika.

Agni is usually designated male, but he has a dual nature, symbolised by his two heads. Agni is actually Androgynous and carried Kartikeya in his womb, but the embryo was too hot for him to handle, and it almost finished Agni off. 

Agni survived somehow and Kartikeya was raised by the Krittika star mothers.

That the star mothers could handle Kartikeya’s heat is an important point in understanding the true power of Krittika Nakshatra. Kartikeya was multi mothered and multi headed.

With the force of Krittika Nakshatra behind him, no battle was too great for him, even though he was only 7 years old.

Kartikeya was a ferocious force that set the cosmic order back in balance. On his 7th day he fixed things so that the Devas could once again rest from the persecution of the Asuras.

Suffice it to say, he grew to be the Martian Lord of Battle.
He rides on a peacock and burns with the active force of a warrior.

The peacock is the bird with the strongest digestive fire of all birds, able to digest all manner of venomous plants, substances and creatures. The digestive fire of the Peacock is unparalleled. It is a creature of profound beauty, with its mystically feathery blooms. It transforms poison into dazzling geometric beauty. Kartikeya does much the same as his Vahaan (power animal), he turns the force of Mars to establish sacred order. He is a king of strategy and the wise handling of potentially destructive force. There are tales that tell of Kartikeya going astray in his use of force, but he learned to handle it and channel it wisely as he grew.


Fiery Longing

O, solitude of longing
Where love has been confined
Come healing of the body
Come healing of the mind

L. Cohen – Come Healing

Agni is a sex god-dess, Agni is the mistress of reception of power for the female.  But Agni is also the master of the force of ejaculation for the male.

We have seen that Agni’s passion could only be satisfied by 7 lovers. His love endures and charges with the force of his a ram.

Agni yearned for the Krittikas and was in danger of destroying cosmic order, until his longing and passion was remedied by Svaha.

As we have seen, Agni is referred to as a male god, when in fact ‘ he’ exhibits qualities of an androgen. His nature is dual, for he has two heads, he is male and female, he is heat, he is light. He is celestial fire, he is earthly fire.

The child of Shiva was destined to be the only saviour powerful enough to save the Devic realm from the Asuric oppression it was under, and that was leading to its destruction.

Much celestial intervention was carried forward to get Shiva out of his Samhadi (meditational trance) and become interested in anything else.

The story tells that Shiva was so slow and deep in all things, that his love making with Shakti continued for aeons. The Devas were getting so inpatient at suffering the persecution and torment at the hands of the Asuras that, one day, they all gathered together and decided to pay Shiva a visit and tell him to hurry up.

It happened that, in the exact moment that Shiva was about to ejaculate, they stormed their way into his grotto in the mountainous expanse of the Himalayas and caused shock to the Lovers at the very moment of climax. The seed of Shiva was not expelled into the womb of Shakti, but cast upon the walls of the cave.

As Shiva ejaculated all over the cave walls he was in a divine rage for being disturbed at the wrong moment. The Devas looked on in despair, realizing what they had just done.

Shiva’s wrath reached unbeknownst scales of rage and imbued his seed with a fire so hot that it penetrated and melted the mountainous earth.

The seed of Shiva is said to have sunk into the bowels of the earth and created mines of silver and gold.

Shakti was furious at the interruption, and the Devas knew they had really seriously messed up by their inopportune timing.

They begged Shakti to gather the seed into her womb but she was in a rage and refused.

The force of Shiva’s ejaculation was so strong that its fiery expulsion had summoned Agni who had taken a drop of it into his womb. Agni carried the child who became Kartikeya, until the Krittika took over the role of motherhood. Some accounts tell that Shiva’s seed was mixed with Agni’s own seed after his numerous lovings with the numerous forms assumed by the shape-shifting women that was Svaha.

Indra, the king of the Devas, is famous for ever fearing that someone will usurp his throne. When Kartikeya was born, Indra saw that Kartikeya was a force beyond measure and that he might be able to take his throne away.

Indra, we may add, is covered with a 1000 vaginas because of his passion for the feminine. In each Yoni is an eyeball with which the paranoid Indra watches from all directions, in case someone might be able to claim his beloved throne. 

And so the Yoni covered lord of the Devas sent the Krittika goddesses to poison the baby Kartikeya. Even though Kartikeya was the one meant to save Indra’s Devic Kingdom. Indra feared the loss of his throne more than the destruction of his kingdom.

It is easy to call the Krittikas a motherly beneficiary force, but they have a fierce side. Many texts and depictions relate them as wild and witchy child-consuming goddesses.

As they went to follow Indra’s orders and destroy Kartikeya, their hearts melted upon seeing the child. Kartikeya overtook their hearts by his Martian power and magnitude and inspired their maternal instincts. 

And so they took him as their child and mothered him.

Kartikeya turned out to be a Martian force who was too busy with battle and strategy to be interested in Indra’s throne, so Indra was able to relax and enjoy his Yoni, Soma and legendary romance.


Journey Through the Planes

The 7 Mother Stars of the Kritta constellation are in a portion of the astral plane, which gives form to human souls upon their last junction to incarnation upon the earth plane. The Saptrishi constellation of the Big Dipper can be said to give the form to the mental and causal bodies of the soul, whereas the Krittika of the Pleiades,  give birth and form to the astral emotional and subtle bodies that more closely connected to the physical plane. 

The Mother stars are the last star junction the spirit crosses until it comes to the plane of Bhumi (Earth) where it is physically birthed by the Mother.

The myth shows how the Seven Mother Stars separated from the 7 Rishi Stars. This manoeuvre created a bridge from the spirit realms to the Earth. This happened in a previous Manvantara (inestimably earlier age). This created a linking of the causal/mental plane to the astral/earth orbit, through a bridge like connection from the 7 mothers to their once beloveds – the 7 Rishis. 

An autonomy between the astral and the causal is something that is built through the astral thread known as the Antankarana. This thread exists within the spine and is equally a thread that connects the mental/causal plane to the astral, and furthermore to the earth, through the intermediary of the stars we are speaking of.

By bringing the 7 mother elements into balance we bring a balance to the Chakra in the body, astral and mental/causal levels. The seven mothers are important to balance and bring into harmony, if we are to establish connection between the various planes upon which we exist. We can exist in an unconscious way upon some planes until we take birth there. This birth goes through the seven mothers who preside over the astral plane.

The Krittikas are the mothers who from the astral level give form to the 7 physical Dhatus (body constituents) of  bone, marrow, muscle, fat, skin, blood, Bindu in the male, or Rajas in the female. The 7 mothers are the essence of astral energies that live behind, and the manifest in the Dhatus that express on the earth plane.


A Time of Cutting

Let me be the only one
To keep you from the cold
Now the floor of heaven’s lain
With stars of brightest gold

A. Lennox – Song for a Vampire 

Agni fell intensely in love with the 7 stars of Krittika, known also as the Matrikas. The seven star beauties that Agni longed for were the lovers of the Saptrishis. Sapt means ‘seven’ and Rishi means ‘seer’, they are the 7 star teachers of the Big Dipper star constellation. It was the Saptrishis themselves who summoned Agni by their Tapasya (fiery invocations).

Agni fell profoundly in Love with the 7 star goddesses of Krittika Nakshatra because of their brightness and luminosity. Agni is their opposite. The 7 Matrika star goddess’s represent the cooling creative fire of Tejas, and Agni represents the heating, consuming and destroying fire.

The balance
of these two types of fire
is the way of Tantric Wisdom.

These fires belong together as they balance each other, but at the same time they are opposites that repel and cancel each other out, much the same as the dance between night and day, cold and hot.

Agni became depressed as a result of the star beauties being unavailable. He even resorted to watching them clandestinely through the flames of the hearth. Their cool bluish glow aroused magical wonder in his heart of red flame.

Agni’s Love for seven star beauties of Krittika was so great and so intense, but it was unrealisable because they were already the lovers to the Saptrishi star sages.

Agni could not bear it any longer and he fled in flames from the celestial spheres. 

With his heart ablaze he sung his way through the astral realm of the stars in the anguish, desperation and the sorrow of a love that was not to be. One of the names of Agni is Vahani, which means ‘to fly with the wind’.

Agni escaped to the earth plane and became the first fire here. His presence threatened to consume the entire earth.

Meanwhile, up in the world of the Stars, things had gotten barren for the Krittika beloveds of the Saptrishis. The fire had literally gone out without Agni’s presence. 

It had been the invocation of Agni by the Tapasya of the Rishis that had kept the flame of love burning strongly. The Rishis became impotent old wise men that the their beloved began to suffer after Agni ran away to the earth plane.

The Saptrishis were now only fit for writing and spreading scriptural knowledge. And so they started to write and edit thoughtful texts for spreading throughout the galaxy. The once hot lovers, who had been aflame with the fires of wisdom, had become a grey ponderous bore. 

A long winter
Along winter
The sun within you,
will turn into a tongue of flame
The kiss you dream of,
will shimmer like the summer rain.

Tongue of Flame – Transglobal Under

Back on Earth Agni’s sorrowful tears were burning strong as the flames of love burned in his fiery heart. The Goddess Svaha found him weeping fiery tears in a forest made barren by his laments.

Svaha fell in love with Agni for his intensity. Svaha is a goddess who has the ability to shape-shift. When she realised the cause of Agni’s lamentations she changed her form to look just like one of the Krittika star goddesses, and together with Agni she entered into rapturous union. Their love making stayed aflame for aeons, never dwindling. Svaha transformed herself into the other Krittika stars in sequence, and Agni stayed engaged in fiery kisses with his seven tongues for aeons long. One of Agni’s names is Saptajihvi, which means ‘the one with seven tongues of flame’.

Agni was overjoyed as his wildest dreams were realised. His deepest burning wish was being eternally satisfied.

In the end Agni discovered that Svaha was behind the illusion, as she was not able to completely shape-shift into the 7th star beauty known as Arundhati. Arundhati was so devoted to her Saptrishi Lover that the force of her love would not provide sufficient illusionary astral covering to be replicated.

Agni did not revolt and was quite happy with what fate had given him. He loved Svaha for the chemistry that they had together. Svaha was imbued of pure Tejas by the power of her Love for Agni. Agni and Svaha were thereafter always together.

One may note that in many of the fire rituals of India, both Tantric and orthodox, the name Svaha is uttered, as mantras and offerings are given into a ritual fire. 

Svaha being the cooling Mantra that cools the hottest element of fire, so that it can be alchemically converted into Tejas, that is, into a psychically workable and handleable form. The story encapsulates this principle in the way that Svaha is able to calm Agni’s fiery tears from becoming all-consuming.

Intrigue ensued when the Saptrishis got word of the escapades of Agni. They didn’t know the full story as they had lost their penetrating insights into matters of the heart. Accusations of infidelity were coldly thrown at their Krittika lovers.

The Rishi’s secretly hoped to rouse Agni once more by their angry displays, but all they succeeded in doing was to distance themselves from their once beloveds.

The Krittika beauties cut away, as the flame of love no longer burned. They travelled to another part of the sky, many light years of love away, leaving the Rishi’s to their books. The Rishi’s didn’t much notice, as without Agni on the scene they were bereft of fire and were only good for the books.

As the cut to their former lovers was made, a bluish cloud of stardust formed and surrounded the Krittika. This sapphire cloud can be seen to this very day. The cutting away, earned them the name Krittika – Kritta, literally meaning ‘to cut’.

And so we see, there was a time when the 7 Krittika beauties and the Saptrishis existed beside each other as Lovers. But that time is no more. However, if one looks closely at the two star constellations, it can be seen that they still have a resemblance to each other. Could this suggest that the form of true love never dies?

Hara Ring

To join the Shuni Jayanti Ritual



June 8, 2021

10 JUNE 2021

The impending Dark-Moon on the 10th of June will be the last one in the waxing portion of the year. The Solstice that follows soon after will bring on the dwindling of the light, and the lengthening of the nights. 

Furthermore, we will have a solar eclipse upon this ritual day. This spells a particularly powerful constellation of events: the Moon will be in the Sun ruled Nakshatra of Krittika, and the Annual festival of the dark planet Shuni (Saturn) will coincide with this day.

The stories tell us that Saturn burns his father Surya, the sun, to utter blackness with a mere glare of his wrath. The glare of Saturn, astrologically darkens the bright solar force.

That we have an actual solar eclipse on Shuni Jayanti (Saturn’s birthday), occurring within a sun ruled Nakshatra, is quite a potent ‘coincidence’. What is more, is that Saturn is in its place of empowerment in the constellation of Capricorn this year. The next time will be in 12 years.

The ancestors of cultures past, had sensitivity to nature’s cycles, call it intuition if you will, they were not faced with the idols and icons of modernity to desensitize them from instinct and nature’s voice. 

Our distant ancestors would keep a low profile on eclipse days, and introvert their forces. Spiritual insights upon eclipses are magnified if we simplify the stimuli that we are surrounded by.

Tantric practitioners of the ancient science, are given to fast and stay inside in times of eclipse, practicing contemplations and ritual focus.

We might think of such things as superstition, but before we make such suppositions, let us suppose that the many modern and artificial superimpositions upon nature might have perhaps numbed our sensitivity to nature’s voice.

Tantric’s are those who attempts to listen to nature’s voice, even while navigating the machines of modernity.

To sum it up simply: This eclipse offers a potent chance of insight and vision into the nature of how we handle and use our fire and solar force. It is an event of accessing the all too often eclipsed feminine night forces, beyond the dominant solar civilisation that we live in.

Last but not least, it is a time to look at Saturnian themes, such as, how we face limitation. Saturn shows us, the opportunities inherent within suffering and pain. He is the teacher of feminine honour, who reveals the nature of rhythm and discipline.

For a more detailed consideration of these themes, you may refer to the texts below…

To register for the Shuni Jayanti Ritual

To read more about Saturn

To read more about Krittika Nakshatra 

Hara Ring


June 3, 2021


The Moon is more than a glow in the sky.
It is a psychic mirror that Tantrics learn to read,
and tune into its ever changing rhythms.
Rhythms not Man-made
but ordained by Nature herself

Dark Moon
Tantra Hatha Ritual

10 June – Dark Moon

Tantric law dedicates this coming dark Moon to Saturn. Shuni Jayanti is the annual commemoration of Shuni, the dark planet.
This will be the last dark moon before the summer solstice. The summer solstice is the longest day of the year, after which the days will start to recede in length and give way to the rising darkness.
It seems a paradox when considering that Shuni is the planet of darkness, that his dark moon should be in the brightest phase of the year.
This is a subject of meditation. Why should this should be so?
In the text that follows we offer some points that may help answering this question.
Let us consider Shuni’s parentage. He is the child of Surya (Sun) and Chaya (Shadow).

Shuni is the planet Saturn. Shuni means ‘the crusher’. He teaches us by bringing us to face limitation. He constricts habitual patterns and reveals the escape-routes we employ to evade reality. Shuni is reality.
He guides us into the basement of the soul.
Tantra regards Shuni as the master of all the planets because he brings us to face all yet unresolved issues and Karmic lessons.
Shuni teaches by the force of weight, taking us into the unseen side of reality. He brings us to face reality without the trimmings, or pleasant and distracting escape routes from the truth of the human condition.

Taking the form of a dark intense man who rides upon Crow, Shuni is overbearing, majestic, mysteriously and fearsomely punishing and spellbinding.

Shuni Jayanti, refers to the Birthday of Saturn.
This is an ancient ritual festival, based on planetary currents and lunar and celestial constellations that suit the work of accessing the underworld effectively.
Upon this day, rituals, prayers and offerings are made in various measures, both in exoteric and esoteric ways.
Prayers and sacrifices to lift relentless afflictions of Saturn are paid for with ritual measures by some, upon the occasion of Shuni Jayanti, measures such as fasting, hatha yog austerity, Yatra (pilgrimage) offerings and donations.

Some take the view that such offerings can appease the planet Saturn, and thereby gain remedy from his crushing darkening effect. Others take the view that by imposing austerity and challenge upon themselves, the realm of Saturn is glimpsed by the law of resonance.

On this day, Tantrics sacrifice themselves intentionally and practice austerity (tapasya) and raise unresolved issues. The purpose of this is to face reality, a reality where both the seen and the unseen meet.
This is a ritual day in the Tantric calendar to work on one’s most obstinate afflictions. Whether it is physical or spiritual or anything else. The Saturn energy opens a portal to the underworld and can provide an access to release long entrapped spirits.


The Crow Man

Shuni Kah is synonymous with Saturn for the Tantrics.
Shuni Kah is the Crow man, and is a most underworld deity. Tall with humanoid body and head of crow. He visits us in dreams as an omen that portends the excavating of the depths of the soul. He is sombre and terrifying, but he is a friend.

Tantrics who meet
with the inner planes of Shuni Kah
are approached by Crows.
Those who go very deep
on the path of the Shadow
are befriended by Crows.

The Crow is a creature of very special vision and sees people and things in another light. Crows shun those who shun the Feminine underworld in favour of the solar plane.
A person who is in touch with their shadow will have crows eat from their very hand. Noticing exactly what is happening around us, and within us, each time we hear or see crows, gives us insight into the unseen realms. This takes a sober awareness and attentiveness. Shuni is just that.
Going beyond our human constructs of speech and language, and tuning into the language of the crow, reveals much usually hidden wisdom to us. We could say this wisdom belongs in the realm of intuition.
There are some Tantric’s who have this Shuni Kah Siddhi very strong.
Such Tantric’s are very powerful healers, who are able to locate the shadows that create distress for people. They work their healing by bringing blind, lost and dark spots of the soul to awareness, so that revealing and healing can ensue.
Spending long periods in the dark, or gazing upon the shadow, gives one this Siddhi.
Shuni Kah is the Crow of the Dark Moon who has access to the nether regions. He is the one who brings the eye to the underground sediment that toxifies our lives. If this unresolved sediment it is left in the unseen world, then there is no healing, then there is flight from the real and the karmic game of fantasy rolls on. Shuni Kah is the gatekeeper to the world of dreams. He reveals the trapdoors that lead in and out of the word personal and collective illusion. He is the grand healer. Just singing his name is a powerful mantra that causes us to see in the dark.


Opening the box of the unseen

What is refused must be met with eventually.
Truth & reality are loosely used words in spirituality.
But it takes great courage & fortitude to face the truth.
The truth is not a only a sparkling wonderland,
it is burdened by the outcast shadows,
just as much as it is by glorious glow.
The most unwanted shadows
are part and parcel of the truth.
The shadow, as it may be called
is a dooorway to wholeness.
So called ‘bad’ arises
when the shadow is repressed & refused

Shuni is the great revealer. King of all the planets, he arouses the deepest Karmic imprints of the soul.

To cut the light from the dark is something that Lord Shuni will never allow us. Saturn’s affliction gets greater, the more that the shadow is turned away from and unfaced.

In a world culture that generally prizes light, ascension and rising over the dark descent into the underworld – and even seeks to crush the creative night forces out of the picture – it may be no wonder that suffering exists on a grand scale.

Shuni is pure reality without the trimmings and distractions. It is said that he has no humor and does not lighten the situation of reality by any means.

He brings the sober vision of reality, without the distraction of escape routes.

He reveals the psychic sidestepping of truth by revealing the truth.

He reveals the illusory realms where the soul evades reality with hope, belief and sentimentality

We generally don’t want Shuni. That’s the whole cause of the problems of existence. With no insight into the roots of a thing, the heart is lost.

By looking into the roots of everything, Shuni brings us to the deepest and most ancient wisdom of Heart.

A question…
What is really at the root of things?
This is the simple clear teaching of Shuni!
No need to read further.

The hamburger might come in a dazzling red shiny box, and it might be in our hand in a matter of minutes. By seeking the root of the burger at hand, we might see the roots beyond the shiny box of delights.

Everything comes in boxes, it’s worth to know the contents of the box.

By not looking into the contents of life’s many boxes, we bypass looking into the contents of the sacred heart. The heart is the greatest of all boxes that there be.

Beyond the shiny red box, is perhaps a creature that was electrocuted till its eyes popped out of its head with a slow painful scream filled death. We ourselves go blind if we don’t look deeper that the shine of the box. That’s Shuni. He is truth, and The Truth Hurts.

A remembrance of the full spectrum or reality is the sober touch that Shuni lays upon our eyes.

Many of us can afford to be indulgent in facing our suffering. We can afford to choose pleasure and eradicate boredom from our lives. We have numerous distractions and supplements available when the gaze of reality does not meet with our approval. There are endless designer means to shaper the face of reality until there is nothing real about it anymore.

We might take our tea or coffee as we read this very text, brewed just to our liking, with our favorite snack.

The time it takes to prepare it and get it down the hatch, will have seen the death of a startling amount of humans because of malnutrition. As many hungry and thirsty deaths, as the calories in our snack infact. This is the reality that Shuni reveals to us. He shows us that we are not separate from anything that happens.

He shows us how to look ordinary murder and routine atrocity in the eye, without escapism into lightening or darkening the vision of the heart. He is the royal sobriety on the throne of the soul.

Things that are swept under the carpet have a tendency to trip us up. The gaze of Shuni causes us to question well worn and established concepts we have around dark and light, good and bad. The vision of Shuni transgresses our most cherished psychic boundaries and sees into a place of foundation, basis, root and truth.

It does well to reflect on the matter of the underworld within us. We might have a lifetime of judgement upon this part of ourselves as an unholy or bad place, to best be avoided. The shadow is strengthened and created from what is unseen, feared and denied. It can eclipse the sacred heart if it is cut away. On the other hand, it can open the box of the sacred heart, if it is taken to heart.

Whatever we might think of the shadow within and without us. The Tantric axiom of ‘’What we Fear has Power over us’’, would be worth to ponder.


The Ear of Awareness

Many of the remedies and rituals of Tantra that relate to Shuni are all about ways of getting us in touch with our shadow side. The shadow is ever there, but goes usually unseen, and it may be made up of denied, feared, forgotten and repressed feelings.
It could be said that, getting the vision of the Shadow world is the beginning of the path of Tantra. And that, the integration and work with the Shadow, is the living of Tantra.
Whether it is a ritual, Mantra, or specific austerity, the main focus of Saturn related pursuits is that they are such, as to bring an awareness of that which we do not see.
The Hatha Yog practices of Mudra and Mantra that raise the unconscious forces are undertaken at this particularly favourable Dark-Moon junction of Shuni Jayanti.
The inner and outer Crow Mudras and The Chaya Karana practices of the Shadow are particularly emphasised.

The Mantras related to the Crow use specific bijas, or seed syllables, that activate the unconscious sides of our Chakras.
In Tantra they are secret Mantras that are carefully handled as they have very strong effect to arouse the latent spirits.
Such intonations, are part of the Tantric science of sound.
They resonate particular frequencies of sound vibration, that activate the Chaya Nadis (shadow-energy-lines that are latent). This is an undertaking that must obviously be handled with much care and preparation, as the shadow channels within us carry that which is out of sight and often obstinately denied.
Much of the Tantric path of healing involves bringing the spirits that rule us from the unconscious to the ear of awareness.


The Weight of Reality

Left hand Tantric practice
is very much under the rule of Shuni,
such practices raise latent & unfaced things
from the underworld.

The path of Tantra is gradual and slow, just as the movement of Saturn is. Fast track measures of haring and tearing into the unseen realms shock the psychic bodies and cause more harm than good for the unfoldment and healing of the soul.
The shadow could be likened to the roots of the tree.
We could say that the fruit is the consciousness, and the taste is the experience of reality.
If we run quickly to the taste, without regarding the roots and the quality of the fruit, we can well imagine what the condition of the tree would be.
A consideration of the nourishment needed for the roots, along with consideration of the quality of the fruit is paramount in Tantric science, when approaching the taste of reality.

Shuni raises the darkest shadow and latent karmas from deep in the unconscious.
Shuni’s face is black because he dwells in the dark and unseen, he is a slow moving planet and this slow movement represents a very important theme in Tantric practice.

“When the rhythm & speed
of our inner life is slowed down,
it becomes simplified
& the things that escape the gaze
are brought into view.”

In this way, Tantra shows us what we do not always see, and also what we don’t want to see, or perhaps even fear to face.
When we pursue the practices of breath, Mudra & Mantra, the energies of superficiality and rushing of body and spirit are brought to the slow pace of Saturn. Then the dark face of Shuni reveals that which dwells in the shadows.
Shuni sits on a throne of black bone behind the veils of boredom.
He brings suffering and strife and throws the unresolved pieces of our life right in our path. There is no speeding past distorted reflections when we are made to move in sync with his timing.
Some of the pieces he casts before our path, are sharp and heavy and cause us to fall. To go onward and inward upon the path of the soul, the pieces have to be put in order.
For us to tread the path of reality, patience must prevail and burden must be borne. To bypass these old-fashioned and seemingly unattractive virtues, is to take the path of superficiality.
The superficial path of pop culture might fly-on-by lightly like a bubble, but it has no power and no depth, and just like a bubble, is prone to pop when faced with the weight of reality.


Imprisoned Within its Own Designs

The entrance to Shuni is through the feminine. His Mother is Chaya, she is the Shadow Woman. His father is Surya, the Sun.
Chaya was not able to realise her power beside Surya. The Sun’s glow burned strongly and made her feel overwhelmed and insignificant, and so she fled, leaving behind her shadow.
This signifies how the feminine is brought into insignificance when the solar active force rules over her.
Having left her shadow with the sun, Shuni’s mother, who was then pregnant with Shuni, performed prayers and yogic austerity to Shiva under intense heat. Her effort was so great, and the heat generated was so hot, that her child Shuni was burned black in her womb.
This signifies how heat and tapasya (yogic fire of austerity) reveals the darkness within the unconscious recesses of one’s being. It reveals Shuni.
When Shuni was born and seen in his full blackness, his father the sun was shocked at how dark he was. The sun refused to recognise Shuni as his child, and accused his wife of being unfaithful. He raged greatly and insulted Chaya.
Seeing his mother thus insulted raised Shuni’s wrath!

Shuni thereby cast a single glance
upon his father the sun,
which made him lose all his light.
Shuni literally burned the sun to a crisp
with a single gaze
& turned the previously radiant father
to utter blackness.

This represents the astrological impact of Saturn, and why he is known as the Dark planet, when he appears astrologically upon the sun, all light is darkened and the unseen is highlighted.
Tantrics create this constellation in the inner realms of the soul, and gain the insight of the dark sun. That is the insight of honouring the feminine.
Saturn has the ability to take away all light within us, and take us into the parts of ourselves that have previously not been seen.

Some Tantric methods of working with the Shadow
eclipse the solar vision and make us aware
of the spirits of the unconscious world
that come to colour our lives

By seeing and addressing previously hidden and unseen forces, they are brought to vision upon the altar of the soul. Untying our awareness from blind spots is the path of healing. It is the path of totality, the relinquishing of division.
The fact in the story that Shuni’s gaze is invoked by seeing his mother insulted highlights a very important Tantric point: that Shuni is the protector of the Feminine. His slow Tantric rhythm is punishing and crushing if the Feminine is not honoured.
Shuni literally means ‘the crushing punisher’.
The subtlety of this symbol conveys how, if we ignore the feminine rhythms of our being, we will become blind to reality.

By following nature we become a Tantric and restore inner order.
Tantric law is the protector of the feminine mysteries that our civilisation and culture might blindly ignore at a price.
The night forces might be unfairly judged as being synonymous with bad.
Life is brewed in the dark of the womb. The night forces are the undercurrent of nourishment. Spiritual malnourishment might give way to spiritual seeking. We might then seek more light, when the simple answer may lay in restoring the darkness in the same balanced measure that nature keeps on showing us, time and time and time again.
We might do well to look at spiritual and cultural concepts that condemn and outlaw the dark, and put the light upon the prized pedestal.

Words are of utmost importance to the Tantric.
Words and language ‘spell’ out reality, and can cast a ‘spell’ upon us, if they are not imbued with the careful, slow and sober gaze of Shuni.

Shuni has no time for superficiality and drama. When we feed excitement, sentiment and other forms of escapist hysteria, we pay the price by casting reality out of the picture.
When we cast reality out of the picture, reality will pull us into its picture, this is a law of nature.

Shuni is often thought of as a malefic planet, but he is rather a beneficent force of order and truth. A great timely benefactor of utmost patience. Shuni has an endless amount of time at his disposal to reveal the nature of reality.
The planet Saturn has often been known as Father-Time. The Greco-Roman mythologies are well worth looking into. Cronus gives us the word chronological or Chronicle. Cronus means time and is an epithet of the planet Saturn. Cronus shares many similarities of Character with Shuni. We could basically say Cronus is the same energy as Shuni, that was picked up through the lenses of our distant ancestors in the Western hemispheres. The mythologies tell us that Cronus castrates his father for his unjust behaviour and devours his own children, just as time is ever devouring that which is born.

Who is Shuni?
Shuni is the great teacher in the realms of time.
He is austere, firm and unwavering.
His laws are potent with the startling scent of reality.
Shuni is the limiting jailer who casts escapism out of the picture.
Shuni makes us aware of how the soul is imprisoned within its own designs.


“I loved you when you opened like a lily to the heat.
If you were here I’d kneel for you,
a thousand kisses deep.
The autumn moved across your skin,
got something in my eye,
a light that doesn’t need to live,
and doesn’t need to die.
A riddle in the book of love,
obscure and obsolete,
till witnessed here in time and blood,
A thousand kisses deep.”

L. Cohen

Shuni is dark, he is deep, and he is slow. His teaching brings us to stand karmically naked before the Goddess.
Shuni’s beloved is Manda, she be a Gandharva beauty who can entice the whole creation with her feminine charms and beauty. She comes from the celestial star constellation of the Gandharvas. This is a floating astral realm, exactly in the central point between the sun and the pole star. The beings of this realm are possessed of musicality and the most subtle geometry of rhythm.
The term Gandhava has been used in India as an epithet for a great musical genius. Shuni’s beloved is the musical mistress of melody par-excellence. She has the dexterity to move within the forms and structures of all sound geometry in all realms. She is considered to be the grand mistress of all the feminine arts for this very reason.

This points deeper into Shuni’s connection to the feminine mysteries. We have already seen above, how, in honour of his mother, Shuni’s glare turned the lustre of the sun to utter blackness.
Shuni is the one who, by his slow dark rhythm, allows the feminine to open up her potential power and mysteries.
Shuni offers boundless time and space to pure feminine energy. Why this should be is a worthy subject for meditation, wherein lays a secret to becoming acquainted with him.
Shuni’s beloved has two aspects. One aspect of her is called Neela, the blue woman. Her name literally means ‘blue’ and signifies the sapphire of twilight. She is so intimate with Shuni that she lives within him in oneness.

The old teaching story of Shuni and the feminine tells us that, when he was in deep meditation on Shiva, his wife was menstruating (touched by the Goddess, as it is known in Tantra). She craved his attention and became angry and felt ignored as Shuni was deeply absorbed in Samadhi.
Her feminine wrath was aroused, and she proclaimed a curse upon him, that his gaze be ever down-cast and, furthermore, whomever he would gaze upon would be brought to face great suffering.
With everyone else fearing his gaze, Shuni was well and truly bound to his beloved. Rather than rebelling, Shuni accepted this fate and limitation sworn upon him. As he himself is the lord of limitation, he is comfortable to live by his own rules.
Thus Shuni’s gazes is ever down in the underworld and arouses suffering in all it meets. But his suffering is a blessing, making one look to the unseen, feared and denied parts of the soul, a radical and oftentimes painful pursuit. He brings creativity from crisis.
He Rides upon Crow and his beloved rides upon Swan at twilight.
One is the bird of the underworld and the other is the bird of the celestial spheres.

The completion of Tantra
is known as the Kiss of Crow & Swan.
The meeting of opposites.


The Stature of Shuni

Tantrics have since eternal times attempted extreme measures in order to become like Shuni. He is possessed with the gaze of reality, sober poised and real, with roots that reach to the very depth of things.
There is an old tantric teaching story that tells of the meeting of all the planets. They all assembled in a grand congregation to reveal their unique powers and enchantments. The meeting revealed that Shuni was the master of each and every planetary power. He had no enchantments of his own to show, but his mere gaze uprooted each enchantment with the force of reality.
Tantrics bow to the black planet Shuni.

Whether it has taken the form of
ritual, meditation or Mudra,
the principle of austerity in the Yogic sense
is to go to the places one does not know of…
it is a path of utmost effort to undo oneself.

Shuni is the most austere of all the Yogins.
All Tapasya, is done in his name.
The myths tell of many yogins and gods attempting to reach to the stature of Shuni. Yet his rhythm is so very slow that it can be crippling. Shuni’s tempo misses not a single thing.
When we slow down our life rhythm to his we begin to see everything.

Shuni is the King of austerity.
Suffering may crush the heart, but the crushing force is what makes a diamond.
There is no way around suffering. The diamond-like stars that shine through the dark night sky take voyage through the dark. It is known as the path of Karma. Suffering and blocks in our destiny point us towards that which needs to be resolved. Shuni can be thought of as the great resolver and leveller.

Hara Ring

To join the ritual dedicated to Shuni Jayanti



May 24, 2021

Goddess of Sexual Energy

Oh Goddess Chinnamasta
Lust and desire is in your blood
You show us the place where lust and desire belong
You feed the Chandra Nadi,
You feed the Surya Nadi,
You are the dark Amvasya between.
The movement of desire do you teach
Mistress of lunar and solar maneuvers you be,
You reveal the natural secrets of sex
By showing us how to bow down
And let the tides of nature move us
To you we bow.

–    Boonath

Chinnamasta delights in trampling upon two lovers locked in sexual embrace. She tramples upon Kamadev, the god of desire and his lover Rati, who rides upon him fiercely.

Chinnamasta has cut of her own head and holds it in her hand (left hand) blood spurts out of her headless body in three channels. Chinnamasta herself drinks from the middle spring of blood. On the right of Chinnamasta stands her devotee Varnini, who drinks from the right channel of blood. On her left, is her devotee Dakini, who drinks from the right channel of blood.


Chinnamasta is a nourishing Goddess. She nourishes the 3 energy channels of the spine, known as Ida, Pingala and Sushumna. The passive and active channels, along with the balancing power between the two, which is what Chinnamasta nourishes.  

She nourishes these 3 aspects by 3 distinct forms of desire. Dakini, on the left of Chinnamasta, represents reception of desire – that is the power to lay low and receive desire. Varnini, on the right of Chinnamasta, represents the power to actively step forth and express desire.

The middle channel
that the Goddess Chinnamasta
herself drinks from,
is the bridging union
of the two polarities of desire.


Chinnamasta is a Goddess of sexual energy flow. Study of Chinnamasta teaches us about sexual energy and it’s 3 fold nature. The threefold nature of sexual energy is Chinnamasta, and Chinnamasta is the threefold nature of sexual energy.

These are the energies of receptive, active and balanced equilibrium.

Chinnamasta is the union of the opposites of sexual polarity. It could be said that she is the equilibrium of the opposites of sexual energy. This of course relates to sex directly, but it encompasses the principles of the exchange of energy in general.

All expressions of energy are dual, and all expressions of dualities have a place of meeting. Chinnamasta stands in that place of meeting.

Let us take the stark example of day and night. They are dual expressions of the same energy, moving in opposite directions. The place of equilibrium in which they meet is twilight. A third principle is created in the meeting of these dualities. Twilight is not always obvious and easily passes as a moment of little consequence. To the Tantrics it is a moment of great consequence in which the central line between is nourished. Twilight is a time for Tantric ritual for this very reason.

The practice of Hatha Yog
relates very much to working with
receptive & active principles of energy
& discovering the place
where they meet.

Chinnamasta mixes all things together. She is the secret third element where the receptive and the active desire meet and fuse together.

Her form is graphic,
which sharply & directly emphasises
the laws of desire
& energy exchange.

Chinnamasta Sadhana is instinctual and very matter of fact. In fact Chinnamasta is the pure essence of instinct, found between the expression and reception of instinct itself. She waits for the meeting, in the secret twilight place.

All are welcome to join our healing ritual dedicated to Chinnamasta.


May 22, 2021

Star of Radiance

In the early morning hour,
just before dawn, lover and beloved wake
and take a drink of water.

She asks, “Do you love me or yourself more?
Really, tell the absolute truth.”

He says, “There is nothing left of me.
I’m like a ruby held up to the sunrise.
Is it still a stone, or a world
made of redness? It has no resistance
to sunlight.”

The ruby and the sunrise are one.
Be courageous and discipline yourself.

Completely become hearing and ear,
and wear this sun-ruby as an earring.

Work. Keep digging your well.
Don’t think about getting off from work.
Water is there somewhere.

Submit to a daily practice.
Your loyalty to that
is a ring on the door.

Keep knocking, and the joy inside
will eventually open a window
and look out to see who’s there.


The star of Chittra Nakshatra is called Spica. This is the brightest star in the constellation of Virgo. The stars of Virgo form the reclining figure of a woman, with Spica as the left hand of the Virgin – this yoga practice deriving from the left hand path of Tantra.

Spica is most visible in the sky in the northern hemisphere, in the months March to July. The Spica star can be seen well in the triangle formed by the 3 bright stars of Arcturus, Spica and Regulus. The base of the triangle is made by Spica and Regulus.

Virgo is the biggest constellation in the zodiac. It is most visible after sunset in the month of May. As the largest zodiac constellation the Sun takes 44 days to pass through it, longer than for any other constellation. The constellation of Virgo is also notable as it has 20 stars with known planets, which is more than any other constellation.

The long transition of the sun through the Virgo constellation gives the jewel of the Spica star an extended period to harness the solar force. Chittra is an active Nakshatra of radiance, many thousands of times brighter than the sun.Mangala (planet Mars) is the ruling planet of Chittra. Mars rules the solar-plexus Chakra as the active expression of its energy.

The Manipura chakra, as the solar-plexus is called, translates as the Jewel in the City. This is the fire in the belly that inclines us to action. The red planet of Mars is the fire of action that flows in the blood. The desire and impulse of action is put into creative use by the force of Chittra. Chittra is the second of the Mars ruled Nakshatras. All the Mars ruled Nakshatras deal with the skill of transforming and refining the elements of life.

How we use
and channel our life force
is the initiation
of the Mars ruled Nakshatras.

Mrgasirsa is the first Mars ruled Nakshatra that gives the initiation of cultivation and gathering Shakti. Chittra comes next and gives the initiation of shaping the Jewel of life with the Shakti we have preserved through the first initiation. The final Mars ruled Nakshatra is Dhanishta, which teaches us the further lesson of caring for the radiance of the jewel by honouring the law of rhythms.

These Nakshatra’s are dealt with in more detail in past blogs entries, which you may refer to here.

We can start to see how Nakshatras fit together when we consider them as a group under their planetary rulership, in this case Mars. By considering them as a group, we may get a deeper insight into the lessons they present to us.

Chittra Nakshatra travels between Kanya (Virgo) and Tula (Libra) and brings the creative earthly juices of the Virgin to an awareness of the opposites. The balance of force is revealed by Tula, which means to weigh. When we consider our life force carefully, we become aware of the options we have. Creation is a process of weighing things up and applying the weight of our life force with consideration.

The creativity
that Chittra Nakshatra teaches us
is one of consideration,
calculation and implementation
of our energies.

Chittra is the careful cutting and shaping of the facets of the jewel. This is a detailed use of creative force, that has power in considering the formations and outcomes of applied life force.

We see that Chittra is oftentimes symbolised by a pearl in an oyster. Like the delicate work of faceting a jewel, the creation of the pearl is a slow and gradual process. It is the intelligent and sober application of force. Chittra brings us the awareness of the jewel of our life-force. It is the pearl of great price. Carefully looking at where we cast our pearls is the teaching that the rays of this Star shines upon us here on earth.

The Virgin in the Cave

The Tale of Persephone

We see that the Ancient Greeks put the celestial codes of the constellation of Virgo into the story of Persephone. Persephone was a beautiful Virgin. Her light spring-like nature was the opposite of the underworld god, known by the name of Hades.

Hades fell in love with Persephone and, one day, while Persephone was gaily picking flowers in a lush meadow he left his dark underworld kingdom and came to the earth to abduct her.

The earth became barren until Persephone found release from his cavernous clutches. But Persephone was bound to return to the underworld, upon account of a trick played on her by Hades.

Her return to earth corresponds to the months of abundance, when the Constellation of Virgo is most visible in the night sky. The season of spring occurs when the constellation of Virgo appears in the early evening above the horizon. When she’s no longer there, it is winter. That is when Persephone returns to the underworld. From the Northern Hemispheres perspective, Virgos absence from the evening sky is found in late autumn, winter and early spring. Virgo’s reappearance in the sky at nightfall comes again with the rising season of spring.

The Celestial Architect

The Polarities of Creation

The God of Chittra Nakshatra is Tvashta. He is the celestial Architect who transfers his inspiration and energy to us through his star Chittra.

Tvashta seems a bit multi-faceted himself. He appears complex at first glance. Tvashta has a dual form. One facet of Tvashta is Vishwakarma, who is the architect of the Devas.
We see, interestingly, that in regions of South India the crafters are known as the Vishwakarmas. The other facet of Tvashta, is Mayasur, who is the architect of the Asuras.

Both these faces of Tvashta deal with his skill in design, architecture, and crafting with creative force. As Vishwakarma, Tvashta creates forms that are diaphanous and creative. And as Mayasur he creates destructive forms coated in glamour and trickery. Tvashta, it can be seen, is the force and skill of the creative energy.

How is the creative force is wielded in our hands? As the life-force is released from the grip of unconsciousness, the range of possibility of creative force is liberated from limitation. The Tantric is a creative voyager who releases the skills of Tvashta by attempting to awaken from unconscious dreams.

One other noteworthy thing about Tvashta, is that he is one of the 12 Aditya’s. These are the deities that are assigned to each calendar month. The Aditya’s transport and give the teaching of the particular month that they rule over. All the Aditya’s hold lotus flowers.

What is unique about Tvashta, is that his lotus flower, is the only one amongst the Aditya’s that is closed. This is a worthy symbol of meditation that reveals many meanings when pondered upon. Perhaps we might rather simply say that creativity requires a stage of introverting to gather force, before it is put to action. We see this principle at play in the creation of life in the womb.

When the introverted gathering of elixir is not honoured, then real creative force might very well de deficient. Creativity without elixir, might then come to be replaced by a predictable and creatively dead clock-work engine. When night falls, not only does a lotus close its petals, but it enters back into the waters from whence it came.

The stone and the Jewel

Channelling the Life-Force

Chittra Nakshatra is the star that brings us the teaching and blessing of channelling our life energies towards the creation of beauty. Someone who works with cutting and polishing diamonds is called a diamantaire. The skill of a diamantaire, encapsulates very much the quality that Chittra Nakshatra presents to us.

To become a diamantaire, requires long years of study into the science and art that is diamond polishing. Painstaking attention to detail and patience is required. The fine work of cutting and polishing is preceded by separating the diamond from the ore. Many hours are required to cut a diamond.

A diamond
can only be cut
by another diamond.

This fact is something worth pondering on, when considering the creative work of polishing the diamond of our lives. The diamantaire takes the rough diamond stone and with the magic of an alchemist, transforms of to a sparkling and mesmerising jewel.
Life energy can be used to launch a stone and create injury and destruction. But, the very same life force, can be channelled into the detailed work of artfully shaping the facets of a stone, and creating a jewel.

By the focus of our life energies, we can take a stone that was once a rough sharp object – perhaps able to cut the hand, and not particularly alluring – and shape it into a jewel of fascination and reflective beauty.

The word Chittra means radiant, shining, delicately-detailed, multi-layered, multi-faceted and lustrous. It is most appropriate that this star is symbolised by a Jewel.

Chittra also contains the word Chit, which means ‘pure awareness’ and could be seen as referring to the shining jewel of the soul. Chit is suffixed by Tra, in the name of this Nakshatra. Tra is derived from the Sanskrit word Tryate, and means to set free. So Chittra in this sense, translates as ‘the setting free of the jewel of pure awareness’.

A work of art, such as a painting, is referred to as Citr in Hindi. This is derived from the word Chittra. Again, this points to the principle of this star, to bring us the illumination to shape the jewel of our life. Chittra for this reason has come to be known as the star of carving the jewel.

What is the condition of our jewel? Is it in the workshop, with us sitting attentively at the desk? Or, has it fallen to the wayside, as we nurture concerns, other than the jewel of our life?


Pure Life-Force

Chinnamasta is the pure ruby red life force. She is the multifaceted jewel, that tells us of the possibilities of movements within the constellation of life. She shows us the options we have, of how to apply the life-force that we carry. She is the Vidya (wisdom) that meets us at the ‘tripple-crossroads’ of power.
In every movement of desire, we play either a passive or an active seat.

Chinnamasta is the seat between the two familiar ways. She is the teacher of transmitting and transmuting our life-force into sacred and spiritually potent action. Her jewel shines with the secret lustre of the union of two forces. Her Jewel is the meeting of polarities, and transmits the wisdom of sacred equilibrium. Her Jewel is the place where opposites and opposition are magically fused together.

When we hear the word equilibrium we might be prone to think of peace and wellbeing. But the equilibrium that Chinnamasta transports to us is a double sided balance and integrity, between the forces of rapturous chaos and poised awareness. She tears her head from her body, but she drinks of the middle stream of equilibrium force, without spilling a single drop from of the jewel coloured elixir of her life blood.

If you would like to join the Chinnamasta Jayanti ritual


Hara Ring


May 19, 2021


Magha means power, majesty and rulership. This Nakshatra is our very heart of power. Magha gives us grand royal standing, and the power of rulership.

The power of rulership comes by embracing the dualisms within the Heart. When the Heart no longer divides, it takes the seat of power in all the realms of existence.

Magha is found in the constellation of Simha (Leo) and is actually the Star Alpha Leonis, which is the very heart of the Lion. This Star is also known by the name Regulus in Latin, which interestingly, means ‘the little king’.

Magha Nakshatra is often symbolised by a throne, representing our heritage and power. The seat of power of this star is the seat of our hereditary power. It concerns the power of our past and our ancestry.

This star
brings us to question
the actual meaning of power.

Magha’s power is the power of the Heart. The deepest lesson that this Star represents is opening to an all-encompassing Heart that unites all, and rejects nothing. This is the vision of the Yogins.

The Headless Past

We see that the planetary ruler of this Nakshatra is Ketu. This is the Southern node of the Moon that is responsible for lunar eclipsing.

Ketu concerns the past. He is the body without a head, and is the storehouse of the unconscious rudiment of our being.
When we work with Ketu, we go back into the past, where those forgotten and unseen elements of ourselves are brought into focus.
The Moon rules the mind and our psychic awareness.

having the power
to eclipse the mind,
represents the storehouse
of personal history
that can impose itself
upon the vision of reality.

Afflictions of Ketu make one into a library of past manuscripts and transactions that obscure the flexible vision of ever changing reality.

When Ketu holds strong sway in our lives, we have family disputes, and we grind on the grudges of the past.
When we come back to the roots, we are in effect taking the journey to Ketu.

By addressing root issues we impact the fruit if our experiential life. The root distills the essence and sap, which in turn translates to the taste of the fruit. Tantric’s know this Sap to be Soma. Soma is made up of Tejas, Ojas and Prana: mental fire, fluidic potency and breath power, respectively. The balance of these constituents is a preoccupation of Tantra.

Taking The Seat of Power

Ancestral issues might present some of the dustiest shelves in our psychic library. Spiritual unrest in the energetic plane of the ancestors, spans concurrently across realms of time and space, and resonates and reverberates into the very fabric of our everyday life and being.

When we make peace
with our ancestral line,
we nourish the roots.
Without the roots,
their will be no fruit.

Having dispute with the family is a deep and subtle issue that is often the cause of much heartache and pain and anguish. Sometimes we enter into unconscious seats that have their origin on the subtle levels. It might not be easy to approach long held family issues.

The energies of the family heritage pass along the line until they are resolved in the great odyssey of destiny. Cutting off our roots might be one way to give the tree of our being space to grow. It is not uncommon that family members do not see eye to eye, but…

… to cut away our ancestral roots
out of anger, shame or denial
is to cut away
a great portion of our power.

Coming to accept the good, the bad and the ugly of our heritage is to take the seat of power.

Healing the Family Tree

All our relationships
are mirrors
of our ancestral dynamics.

Are connections are coloured by the energies of our line. Some of the patterns and footprints that we walk in are woven of ancestral twine. We may see how our children follow the paths that we ourselves transferred to them. We may see how we take on the energies of our elders too. The root is the undercurrent that can’t be cut away without affecting the fruit.
Reclaiming our power by standing for our heritage, is the first step in resolving the past.

Can we resolve the past
Lurking jaws, joints of time?
The Base
To come of age in a dry place
Holes and caves

J. Morrison – American Prayer

When we redress the issues from a spiritual angle, we effect changes in the manifest realm. Merely holding a positive thought in mind is of little consequence in this pursuit. At the best, it might convince us that things are all well and good. The Tantric learns to employ all facets of their being in the spiritual pursuit of healing.

When we approach the spiritual world with a holy sense of purity we confine our psychic forces, and therefore confine their expression in our manifest life.

Angelic lightness
is just one facet of being,
but it is not the whole picture.

The pursuit of the holy stems from fear, denial and escapism to the true face of reality. The Goddess has many faces. Some of which are blinding, some of which are dark and consuming. To sit in the seat of power and to allow the full impact of feeling the effect of her ever changing gaze upon us is to be in reality.

To superimpose the Goddess’ face with a wished for visage, it to apply shadow and lipstick to the mirror. If we keep sticking things upon her mirror, we will create a fantasy and lose touch with reality. This is not the way spirituality is meant to be.

The Ancestors

Gorgeous girls are bound to meet
To talk of stars and kings and feet
Through the chromosomes of space and time
Me, I’m fast like bad infection
Gasping for my resurrection
Swear to me in times of war and stress

Seen his family with a shrinking smile
See his family at the happy games
Standing in the mouth of all that’s pure
Come straggling in your tattered remnants
You’ll come to me with tears and blame
I am the future
I’m tomorrow
I am the end

D. Bowie – Earthling

The ancestors dwell on this star. They are known as the Pitris and are made up of guardian spirits and deceased ancestors.
Yogic culture works profoundly with ancestry. Our heritage is understood to be our root that yields the fruit of our being.

There are  various rituals in Tantra for blessing the ancestors, and connecting to their blessings. Tantric work spans across many planes of existence. By connecting to the root energies resonating through time, we see how time is a concurrent thing, existing and moving together in sync, like the fingers of a wristwatch.

We release spirits and energy through the chromosomes of space and time, by our involvement in the spiritual side of life, when we approach the world of the ancestors by way of ritual.

There are many special days for Tantric ancestral rites. These are days, when the world of the ancestors is said to open up and be within view to the eye that looks.

Dark Moon days,
for example,
are times when the spirit world
intersects with the earthly plane.
That is a day
when the ancestors are worked with.

Tantric ritual dedicates a whole month to Ancestral work in the autumn. There is the ritual festival of first honouring the mothers line for a fortnight. Which is then followed by honouring the fathers line for a further fortnight.

When the Moon is is Magha Nakshatra, it is also a day when the ancestors come close to us spiritually. The half ascending Moon of Bagalamukhi supports us to touch the balance of dark and light ancestral themes. And so, on this ritual night, while the moon in in the Star of ancestry, we shall take a journey to the world of the ancestors. This night is blessed under the auspices of the Goddess Bagalamukhi. She it be, who pulls the spirit beyond the terrestrial.

To join the ritual for Bagalamukhi Jayanti


Bagalamukhi Jayanti

May 17, 2021

Oh Goddess Bagalamukhi,
some say the yellow one.
We see you glowing gold,
coming from the east.
You are the great paralysis.
We gather upon your birthday
to courageously come to honour
the wake-up shock that you admister.
You are the great shock that pierces the chakra
and brings us to silence.
To you we bow


The story of Bagalamukhi references the colour gold quite centrally. It starts in the Golden age of Satya Yuga. Satya Yuga translates as ‘the age of truth’. It is first among the four ages.

Satya Yuga is the Golden age of balanced harmony. Bagalamukhi appears from a golden pond of Turmeric that is known as the sacred Haridra pond. Bagalamukhi was summoned by the golden God Pitambara. This is a name of Vishnu who is keeper of the Golden-age. Pitambara can be translated as, ‘the one who is wrapped in yellow’.

The story goes that the Golden-age was threatened by a storm. The forces of equilibrium had become disturbed, and thick grey clouds threatened the order of cosmic balance.

Pitambara prayed deeply until the gift of Bagalamukhi, the golden Goddess of beauty, appeared from the sacred Golden pond.  Bagalamukhi Emerged in dazzling beauty from the sacred golden pond. She stupefied and beamed with radiant countenance of skin dyed gold by Turmeric.

The golden effulgence of her beauty, that manifested upon the earthly plane, was paralyzing. Her golden jewellery tinkled and chimed through infinity as she walked with shining effulgent grace. The bells of her bracelets emitted sacred sounds that paralyzed the doom of the suffocating storm that had been brewing in the heart and soul of existence.

Bagalamukhi means,
‘the one who paralyses
and captures
by her very gaze’

The golden God Pitambara could once again rest into his golden world, as Bagalamukhi restored order by paralyzing the impending storm. Bagalamukhi did it only by the power of her golden gaze. She came to be known as Pitambari, the one with the Golden yellow gaze.

The Solar Plexus and its opposite

The sacred Golden pond, called Haridra, takes its name from the root spice known as Turmeric. Turmeric is an important herb for the health of the fire element in the body, which dwells in the solar plexus.

The right measure is a panacea for regulating the fire element in the human organism. Taken in excess, turmeric can cause dryness in the constitution. This pond in the story outlined above, represents the solar plexus chakra.

The storm clouds threatening to obscure the Golden-age represent the opposite spectrum of clouds of Kali Yuga, that is, the dark Iron-age. If the gathering storm clouds gather in excess, unbalance in equilibrium and order ensues.

The opposite colour in the spectrum to Yellow is Indigo. The indigo Chakra is the Agya chakra at the Third eye, with which the Solar is connected as its opposite. The Third-Eye is ruled by the dark Moon and the Solar plexus is ruled by the sun. We here see the two opposite polarities starkly at play.

In Tantra opposite polarities hold a secret: they both attract and repel each other, just like night and day, hot and cold, man and woman. The vision of the balance of opposites is revealed by Bagalamukhi’s startling gaze. This detail of balancing opposites is one of the keys to Bagalamukhi ritual worship.

The Goddess who disperses psychic clouds

Bagalamukhi is the Goddess force who arrests the movement of the clouds in the psychic sky of our spirit. We might be all-to-used to the pattern of the movements of our inner thought forms and structures. They may be taken as a normality and something that we hold dear to and nourish.

The Tantric comes to recognise those structures of the self, that are opaque and impenetrable forms. By studying the psychic sky of the self, the Tantric learns to recognise the clouds that obscure the vision of the Goddess.

is she who creates a pause
in the familiar and habitual patterns
of the movement,
of the psyche world
we live within.”

In the pause that she offers we come to the discovery of translucent spheres of being, where visions are glimpsed. The closer we contact her vision, the clearer the vision of reality becomes.

Khechari Mudra

Khechari Mudra
is the practice of working
with the tongue.

The tongue is the intersection between the polarities of the solar plexus and the third eye, while at the same time, it connects the energies of the sexual and throat Chakras together.

Tantra prescribes many techniques of working with the tongue. The nerves of the tongue are profoundly related to the solar plexus and sexual nerves. The vagus nerve is stimulated through the tongue.

Particular placements
of the tongue
all have their specific functions.

Khechari Vidya (wisdom of Kechari) is a secret practice that is initiated upon Bagalamukhi Jayanti. Specific mudras and mantras in combination with the movements of the tongue can direct the energy. An upward placement, for example, can send the energy up to the third eye. A downward placement sends the energy to the sexual Chakra. A directly frontal placement connects to the solar plexus Chakra. According to the placement of the tongue, the whole system of Chakric energies can be worked with. Bagalamukhi is the keeper of this Vidya (wisdom)

The tongue goes North

This brings us to another myth that relates to  Bagalamukhi. When we see the Goddess Bagalamukhi in pictures, she is portrayed as pulling out the tongue of a ghoulish looking little man with bulging eyes.

The story tells us that Madan was a Yogi who became Asuric (destructive) after he gained the Siddhi of Khechari Mudra. It is a story – as are all yogic tales – to meditate upon in order to glean its deeper meaning.

This is the Siddhi (magical power) of speech, often referred to as Vakk Siddhi. Those who work with the Khechari Mudra of the tongue in very deep ways, gain the power of speech. What is said can come to manifest when the power of Khechari is evoked.

Khechari yogis
are careful
and sometimes very reserved
with speech.

Now, the story tells us that the Asura Madan had the power of Khechari Mudra, but his heart was eclipsed by bitterness, and so he cursed left right and centre and caused much suffering.

The golden glowing goddess appeared and stunned his eclipsed heat and pulled his tongue in the Northern direction, bringing his energies into communion with his third eye.

The upward movement of the tongue connects the sexual energies and digestive fires with the subtle energies of the third eye. Bagalamukhi is the Goddess force that draws the gold out of the swamp of habitual murky dwelling.

Upon this Half Waxing ritual night we shall approach Bagalamukhi with the prayer of receiving Khechari Vidya. This is a ritual time of working with the solar forces as mirrored in the rising Moon. Bagalamukhi Ritual is very much about studying the impact of our active words. Not only the spoken words, but also the words that resound and colour our innermost being. Some of the practices of Bagalamukhi that we shall engage in are preliminaries of the Full Northern Mudras of Khechari.

To join the ritual



May 13, 2021

Pollution, Scraps and Leftovers

Oh Matangi,
Green of complexion
You glisten like an Emerald in the rain.
You accept all our impurities,
You are the heart chakra that openly receives the leftovers that we have to offer,
the ones that are no use to anyone but you.
To you we can bring our shame and our pain,
You can hear our broken refrain!
No one can Love you, for you are the one who Loves like no other.
Not only do you Love in the sweet-scented places,
But you Love in the rotting flesh of yesteryear,
you never withhold your Love.
To you we bow.


The Green Woman Beyond

Matangi is the Outcast Goddess. She is the woman who does not align to conventional standard. Not that she is a rebel who rages against the machine of modernity.
Matangi is not against convention. It’s just that she does not abide by its restrictive codes. Her vision extends beyond the bounds of normality. Matangi is not a woman with something to prove.
She doesn’t scoff at the ways of ignorance and injustice. Matangi is possessed of an equal vision that accepts all as it is. The Shakti of her vision is put towards the out-of-bound mysteries.

When we oppose something strongly, we give a big portion of our Shakti to it and end up depleted… or we might find ourselves ever in a position of grinding the axe of our power upon the blunt edges of that which we oppose. An axe can only take so much grinding until there is nothing left of it.
All opposition ends with Matangi. She brings us to the vision of empowered innocence.

The Green Wild Soul

Matangi teaches us to take back our power. Whether that power be mental, emotional or physical. Matangi teaches us to un-invest our spiritual powers from the codes of societal, ancestral, spiritual and moral forms that they may be bound-up with.
As we bring the power away from standards, we discover a vast amount of Shakti that can launch us into uncharted waters. Matangi unfolds the green vision of the wild Soul in the sea of eternity.

Matangi can be worshiped by any means, if the worship is sincere. She is often worshiped with leftover food scraps and normally taboo items and forms of devotion. Ucchishta means polluted, it is usually taken to mean scraps and leftovers, but encompasses all that is considered dirty, forbidden, unclean and unholy.

If we make contact with the powers of Matangi, she delivers us from notions of good and bad, she brings an empowered acceptance of the way things are, and helps us to resign the seat of judgement.
Matangi is a potent spiritual sphere of consciousness that accepts all things. If we are truly to learn her lesson, we must step into the empowered stance of accepting all things.
Matangi is no docile victim. She is an intensely Ugra Devi (fearsome goddess). Her stance is so empowered that everything is accepted by her. Nothing oppresses her, nothing aggravates her, with nothing to resist or be aggravated by, Matangi has double the force of anything that upholds a standard.

Finding Matangi within, is the empowering of the Heart Chakra. The Heart Chakra resonates at the Green frequency, Matangi too, is green.
Her colour signifies the full power of the wild heart. Hers is not a heart with an agenda or a preference, her heart loves all equally.

Anything offered with sincerity pleases Matangi. That which is rotting and unholy pleases Matangi. She accepts a pearl and ruby necklace just as readily as a bone on a string. If the bone has rotting flesh upon it, Matangi accepts it just as much as she would a box of exclusive pralines.
The sincerity and devotion of in what is offered to her, becomes the most important thing when approaching Matangi. What is offered is of little consequence, it is the force behind the offering.

She is not a woman to be flattered or bought.
When we approach her worship. We are made to look at the fancies within us that take delight at flattery, and the parts of us are ready to jump like a puppy if we are given what we like.
In her ritual work, we are asked:
Which parts of us become pleased at praise and honour?
Which parts of us like to be told what we want to hear?
Matangi might be the only woman to tell us what we do not want to hear. Sometimes the truth is best left alone because truth can hurt?

The Evergreen Heart

Matangi is the Goddess who is actually pleased when we offer her the parts of our soul that are no longer edible… the parts that are kept hidden and out of sight (even unto ourselves), perhaps in shame.
The hidden parts carry a profound power, the more repressed, the greater their power becomes.
Hidden repressed things become a cause of perversion and sickness. The underground forces start to rule us unless they are brought to the heart. Matangi is the Woman who accepts them with an evergreen heart.

Those parts of us that are old and rotting and are offered to Matangi in her Rituals.
If we have habits that are standing in the way of our progress and polluting our lives, Matangi is the Goddess who opens the trapdoor and shows us a way to work with, and handle the noxious eruptions of the soul.

If our health and relationships are not in flow, then Matangi happily takes the old scraps that rott away and pollute the sacred heart, that is, if we even offer them to her.
The old scraps in our soul might be something we come to oppose, whether we call it the ego or the devil to be conquered and destroyed, it amounts to the same thing. If the power of our old scraps and wounds of soul is not reclaimed, it can lead to addictions.
Addiction does not only mean addiction to substances, overwork, and the usual things we might associate it with. Addiction also pertains to holding tight to a particular set of beliefs and modes of behaviour.
The need for drama is a subtle addiction, perhaps one that is quenched through relationships and even movies.
Being driven to action out of necessity is a subtle form of addiction that we might nurture and justify as a wholesome one, because it is in pursuit of good things. Anything that comes with a drive is the very opposite of freedom, and so it could be classed as an addiction.
Often our addictions and unhealthy habits are difficult to release.
On the one hand they are defences that can provide a distraction from facing our inner wounds, and on the other hand, they are often a source of shame and may be kept hidden and secret – even from ourselves.

Blessing Shame

Matangi blesses our shame with the Hand of a healing mother.
Matangi gladly takes our rotting pollution if we but embrace it enough to give to her. She stands like a mirror that reflects the inherent power within things. Those places we might see as the very opposite of power and life might be the ones where it is most present.
To face her, is to face ourselves in the most stagnant of places.
With Matangi, there is no moving around the issue,
there is no escape from oneself,
there is no rising above or dropping below,
there is only – going to the Heart of the matter.

Matangi is a shameless outcast Goddess.
All so-called Taboos are looked at by her emerald green eyes.
She is the outcast Goddess who isn’t offered a place in polite society,
but without her, polite society insidiously pollutes itself in an unseen manner.

You may come to me in happiness
Or you may come to me in grief
You may come to in your deepest faith
You may come in disbelief

L.Cohen – Lover Lover Lover

Just as the lyrics above express. Matangi does not care how we come to her. Her lesson is that we even attempt to come to her at all.
Whether we come to her in filthy rags, or whether we come to her in royal dress. Matangi will take and bless whatever we have to offer.

Her Vision

The Chaturthi, or fourth lunar night synchronises with the ritual of Matangi.
We find her Jayanti ritual on this lunar night. Chaturthi is a time of psychic imbalance where the pull and push of lunar magnetism is split.
Within this unstable time, the possibility to find the Ucchishta (Hidden rotting areas within our soul) is supported as the inner psychic nature is not so solid under this lunar influence. Chaturthi days loosen-up the psychic nature.
Chaturthi rituals within the destabilising lunar influence are to be grounded in a solid pursuit and have a heavy and focussed character.
The focus and spirit of Matangi ritual, is to offer to her the Ucchishta elements within us.
When we release the Ucchishta, which may have become the foundation of our being, and the cause of our many impulses and pursuits, we discover a secret world beyond the familiar.
Giving up ourselves is a radical undertaking that has radical rewards. It is not something that can necessarily be done in one fell swoop. The techniques and path of Tantra gradually loosens solidified psychic matter and offers us way to release the structures and edifices of the constructed self. Matangi reveals the unadulterated soul beyond all constructs. This Chaturti Moon falls within the Lunar House (Nakshatra) of the Deer Star Mrgasirsa (click HERE to read about this star constellation).

Our personal history, might be gathered with an onward rolling snowball effect. The snowball of our being might be built of many obsolete and redundant things that have come to fix our character and reality? Matangi is the Heart that melts the snowball ball of the formulated self, she offers a vast vision of what lays beyond the threshold of personal identity.
When history is not there, then the familiar self starts to vanish.
When the familiar self that we live with and within begins to fade away, then we have a vast amount of liberated energy which is no longer invested into the familiar structure of the self.
This liberated psychic energy is the power of Siddhi.
That is the meaning behind why Matangi is called the Mother of Siddhi. She be the one who imparts magical power.

Tantric ritual upon the fourth lunar night, involves many careful formulas for focussing stray psychic energies. We shall find our stay psychic energies by way of ritual and attempt to release structures as we move towards the great encompassing heart of Matangi. Hers is a heart that stands beyond and between all form.
Her vision is the vision of the all-exclusive Heart.

If you would like to join the ritual



May 13, 2021

The Deer Star of Seeking

Tomorrow night’s Matangi’s Jayanti, the day and night during which Tantrics honour the Mahavidya Goddess Matangi, will happen under the auspices of the Mrgasirsa Nakshatra (lunar house). Mrgasirsa translates as the head of the deer and is symbolised by a Deer searching and scouring the land for nourishment.

It is formed of a cluster of 4 stars in the constellation of Orion, the brightest star of this Nakshatra is Bellatrix. These stars form the shape of a Deer head.

This Mangala (Mars) Ruled Nakshatra traverses both Taurus and Gemini. Mangala being the ruling planet of this Nakshatra, gives the force to search and quest. This is the quality of enthusiasm that is the fountain of youth, ever seeking and searching to know and to find.

Right Under the Nose

Uniting Opposites

The desire to unite disparate parts is the wanderlust of the Tantric voyager. Opposite poles mysteriously magnetize and attract each other, while simultaneously also having the force of repelling or de-magnetizing each other.

We find that all the Mars ruled Nakshatra’s are possessed of the adventurous spirit. We see that all the Mars ruled Nakshatra’s sit between two zodiac constellations, they are half in one sign and half in another, giving them the quality that inspires the quest of searching to unify opposites.

In the case of Mrgasirsa the bridge is between Vrishabha (Taurus) and Mithuna (Gemini). Taurus is an earthly sign of heart that is ruled by Venus. It is concerned with the immediate earthly sensorial territory.

Gemini is Mercurial etheric sign of the metaphysical mind. It is concerned with travel and movement in the metaphysical spheres. We can see these opposites at play clearly in Mrgasirsa, we could call it the joinery between the head and the heart.

When the head and the heart move in harmony with each other, then we have a great level of practical wisdom. When they are out of sync with each other, then we have abstractive irrelevance in the earthly sense and overly emotional indulgence in matters of the heart.

The Deer is a most practical creature of heart, infact it is the animal that symbolizes the Heart-Chakta for Tantrics. The Deer possess the eyes of a lover and has the swift movements of the air ruled Heart-Chakra.

When we look at pictures of the Nebula of Orion, we very interestingly even see that it presents a heart shaped form to us.

The Deer beautifully brings the qualities of the heart and the head together. It is a measured creature that is in touch with the mysteries inherent in its environment. It is not a chancer that that looks for wonderment far afield, but rather discovers the delights that are right under its nose.

The Deer is known famously for having the musk gland. This gland produces a substance that has been widely prized in perfumery. The gland contains pheromones that strongly attract and affect the heart of those who catch the scent. It is a scent that Deers attract mates by.

All creatures have such glands that incite and allure. The musk of the deer has been recognised as exerting a particularly powerful impact upon the heart. This has made of it a much sought after commodity. The paradox is that the harvesting of this gland might be anything but heart-full in the exploitation of the Deer.

The Deity of Mrgasirsa is Soma, Soma is the lunarly Elixir of life. Soma is the fountain of eternal youth and steady energy.

When Soma flows smoothly, the energy and the emotions are rhythmic and regular. Soma does not blow hot and cold, nor does it have drops and dips between energy and depletion. Soma is not a quality of excitement and restless stimulation, it is rather a smooth creamy continuity that brings life.

When Soma flows, then Prana (breath power) Tejas (psychic fire) and Ojas (watery essence) is abundant. Soma is the Elixir that the Yogins are careful to preserve. Without Soma, the waters of life run dry.

The Deer is a reminder of the cultivation and preservation of Soma. It is a creature that measures its capacities and knows its capabilities well. It is familiar with what its environment brings and has to offer. It equally knows  dry well, what it’s environment does not have to offer. The deer is a teacher of the sacred heart that is practical to that which is right under its nose. It does not waste its essence in far off pursuits, but brings the vision of magic to the pursuit right under its nose.

On the path of the Deer, we are asked to measure our resources.

To go beyond what our resources actually are, is not the path of devotion, it is rather the opposite path that goes against the sacred heart.

On the path of the Deer, we are asked to look closely at the promises and searchings of chasing rainbows to the detriment of our Soma life fluid.

On the Path of the Deer, we are asked to look at, make use of and appreciate the particular shade of the green of our grass.

Way of the Deer

This Deer-driven star of Soma, shines the energy of searching and seeking. The spirit of the quest, and the wonderlust towards innocent discovery is reflected in the eyes of the Deer.

The wonderlust of ever looking, searching and being on the eternal quest for the magical Elixir, may far outdo the need to find and obtain the certain treasure when seen through the vision of a Deer.

The vision that looks deep into that which is below the nose, is the path of efficiency, functionality and appreciation.

If the vision of ever looking into the wonders that are hidden in our midst is not with us, then all love, appreciation and gratitude are thrown out of the window.

The Deer vision is the wonderment and devotion in each and every little thing that is in our path. The deer spirit, is the spirit that is attuned to catch the voice of the flowers and the scent of the Moon.

Mrgasirsa is made of two words, Mrga implies Deer and other related species, such as antelope and gazelle, and Sirsa, which implies the head.

This points towards the power of this star to shine down upon our highest point ‘the head’, and turn us towards the search of deep mysteries.

The symbol of this star is the inclined head of the focused deer, sniffing out it’s path. The ritual journey taken under this star is one of inclining our head to look into the basis nourishment of our spirit.

This concerns things that are very close at hand, so close as to be right under our nose. The deer is an animal that is a wanderer within its familiar territory. It is a very practical creature that is in deep contact with its immediate surroundings. It could be said that the Deer is the seeker of adventure in the familiar.

This quality of knowing, studying and appreciating it’s territory, makes the Deer incredibly adaptable to new conditions, perhaps like no other creature.

Sometimes we might live in a cycle of achieving things. We naturally may have to strive under a schedule of duties and fulfilling tasks. When things become monotonous, we might see it as an indication of a needed change. The change that the Deer eyed vision of Mrgasirsa brings to us, is a change of our vision, to deepen our focus into the magic that is around us and learn to look for the unfamiliar in the very midst of the familiar.

The wonder that is brought to us by the Deer-eyed gaze of this star is to keep the journey of-the-sparkling, ever with us.

When we aim for a distant star, we risk losing the closer scent of the magical things around us. By slowing down the frequency of our sniff, the scents of magic that are right-up-close to us come under our nose.

This star brings us to question things such as excessive movement, striving and speed.

The Search For What is There

Searching is a word that is redefined by this Star. The search for the magical Deer-eyed vision is what is implied by the wisdom of this Star.

A search that goes pushing and rushing along in pursuit of the treasure, blindly misses daisy secrets that only the Deer-eye catches.

It might one day arrive at the treasure, only to find a mirror that reflects back the dried up loss of power that such a blind journey created.

The vision of the Deer is one that catches the sparkles along its way. The Deer vision gathers the treasure in its very gaze. Learning the secrets of the Deer is the path of learning to honour the Deer-eyed-gaze.

The way back to the magical gaze of the Deer, might be an arduous path. A path where we come to question our internal power of soul. We may come to see parts in ourselves, where we have thrown out precious nourishing things from our heart in exchange for inedible dirt.

Exotic perfumes in distant lands sweep the heart into magical fantasy it could be said. But discovering the scent of the home we are in, the one right under-our-nose, unfolds a fantastical reality that we might be bypassing… or by-sniffing and missing the essential treasure of being.

We might miss the rainbow in search of the pot of gold if we lose the lesson of the Deer. We might have taken influence from some place, and feel that wonder is far away from where we are. Maybe wonder is so close that it’s in the very gaze that we see things with. In the gaze of the Deer

Mrgasirsa brings us its blessing if we tune in and listen to the frequency of its starbeams. This Star makes us Deer-eyed and Deer-nosed. It teaches us to be able to beam the focus of our psychic forces right to the fundament of where we are in each and every gaze and sniff.

Chasing the Golden Deer

The Golden Deer that captivated Sita in the Ramayana epic, is what starts the whole story of her abduction and resultant rescue under the powers of Hanuman’s devotion to restore Love.

Sita, upon seeing the golden Deer was so captivated by it beauty, that she just had to have it.

The Deer shimmered like the golden sun and had silver moonlike spots that entranced Sita, so much as, as to forget where she was and what was around her. Her desire for the Deer, caused her to lose all ground.

A whole odyssey of separation and battle ensued as a result of seeking the golden Deer, who was infact a trickster.

The teaching inherent in this tale is clear when we consider the quality of the Deer as outlined above. The search for the Golden Deer carried consequences for all involved, but the paradox is that without the overstepping of ones territory, the path of Karma does not unfold. Straying is a necessary part of learning.

Playing it too safe can be the path of living death.

Much blood and Soma may spill in the pursuit of the golden Deer, but it becomes a deep teaching of the nature of overstepping the lines of reality.

By the teaching of this Star, we are brought to question and look at our own golden Deer pursuits.

Spirit of the Deer

The Yogins consider the animals as teachers and emissaries of particular qualities of the Spirit. A theoretical study of the habits of animals is certainly a very interesting way to get familiar with the qualities of the various creatures that live on earth. Tantric’s meditate upon the animals and evoke their particular spirit and quality within themselves. Observing the actual animal by meditation and tuning in to its energy has been a favorite pastime of Tantric’s, as a way to learn and attune to the animals secrets.

Observing how the coat of a Deer changes with the seasons communicates many mysteries to us if we open the receptive channels to its teaching. Mimicking the bark of the Deer is a way to comprehend where the energy of the deer is located in its body and spirit. The sound of the Deer engages the heart and the throat equally. This becomes poignant when we consider the Venus and Mercury aspects that the Deer Nakshatra stands between, as hilighted above in the ‘Uniting Opposites’ section.

The spirt of the Deer is a determined but innocent one that is more interested in the divine play than in the divine accomplishment.

When we look at the gods who have a deer with them, we get some pointers into the meaning of this Star.

Krishna is the player of the celestial game known as Lila.

Lila is the romantic play of the spirit with all phenomena. Krishna is often pictured with the deer, as we see here above.

Another deity who rises upon Deer back is Vayu.

Vayu is the deity of the wind who rides swiftly upon Deer-back and carries the jewel of Pranic breath power to us. The Heart is the transformer of the common air element, into the the life force of Prana that the Yogins honour and awaken.


Soma, the Moon deity, is another who also rides swiftly upon deer-back. He plays an important position here as he is the ruling deity of Mrgasirsa.

The parentage of Soma is of worthy note and points to secrets of lunar balance. The Moon rules the psychic movements by its ever changing rhythms. To balance the Moon energy of the psyche is open the secrets of Soma.

Soma is born of Bhanu and Nisha, Bhanu is the hot fiery father, Nisha is the mother who is cool, dark and moist. The first child of this couple was Agni, the second was Rohini and the third was Soma.

Agni is the fire god of the Nakshatra Krittika. Rohini is the most fertile red star woman. Rohini’s Nakshatra stands right between Krittika and Mrgasirsa. We have seen that Mrgasirsa is the cool star of Soma.

Rohini is brought to her fruitful power by standing in balance balance Agni and Soma. Heat and coolness in balanced measure is needed for her to thrive.

The lunarly journey of the Moon, travels through these three Nakshatras in the sequence in which they were born.

Soma is the Moon, but it is equally the Elixiral fluid of magic and wonder.

The force of this Star is to translate the fountain of eternal youth to us here on earth by shining them to us by the light of the Moons fourth waxing night.

Those places where inspiration and wonderlust are most unstable in us, are brought to life by this particular Moonshine.

A Woman of Heart

The Deer is the animal that is connected to the Heart-Chakra. The Heart-Chakra resonates with the Green colour spectrum.

This brings us to Matangi, the Green Goddess of tomorrow night. We shall meet for the ritual that Annually honours Matangi.

She is the Green Goddess of unconditional Love. Matangi lays no condition upon the form that love is offered to her in. Her green-eyed vision sees with the eye of the Heart-Chakra.

Matangi is the deep essence of motherhood. Like a true mother who is equal about handling warm milk or warm shit, Matangi’s hands fear not to touch all sides of love.

Matangi is a powerful ally for us in determining the value of the things that we receive in our lives. Sometimes the most bitter medicine is administered with the greatest love, this is something that Matangi makes us aware of and sober enough to see.

Alternatively, sometimes the sweetest things are backed with empty sentiment that does not nourish anything deeper than our surface fancies.

Matangi is the unseen side of wisdom. She makes us wise in opening our eyes to the view that might be far off the beaten track of the conditioned heart. She is the great outsider who has lays down no conditions other than the whole hearted condition of Heart. Click HERE to read more about Matangi.

If you would like to join the tantric ritual on Matangi Jayanti


Svhati Nakshatra

April 26, 2021


Breathe, breathe, breathe deeply
And I was seething, breathing deeply
Spitting sentry, horned and tailed
Waiting for you.”

D. Bowie – The Width of a Circle

Dear Friends of the Healing Circle of the Breath

Tonight’s Full Moon will be in the star of unfolding destiny. This is Svhati Nakshatra. It is a single star known commonly as Arcturus.

This Star is far North of ecliptic belt and is an outsider star that is not really part of a team. We see this principle of the outsider expressed when we consider another name of this Nakshatra which is Nishtya. Nishtya means outsider and very much expresses the energy that this star brings to us.

The energy of Svhati
awakens the thinker outside-the-box
and teaches us how to get along
with the radical forces
that blow around and rustle
the leaves in the garden of our soul.

This further brings us to the word Svhati.Svh translates as ‘the self’ and Ati relates to ‘a high amount’. So, quite literally Svhati means ‘the star of much self’. This star is often called the hyper-individual star, it is an outsider star that raises themes of individual drive and destiny.

This star is ruled by the Rahu who is the Northern Node of the Moon. Rahu is the ever-hungry head without a body that is responsible for eclipsing the sun. The energy of Rahu keeps us following the taste of our karmic involvements. The energy of Rahu does not distinguish between good or ill effect, just in the same way it is possible to follow a destructive path with great conviction and energy.

Rahu is a very hungry concentrated energy that goes into areas of addiction and obsession. If the forces of Rahu are made conscious, he breeds focus and power of determined will, that can be channelled into the unfolding of our destiny.

The Answer is Blowing in the Wind

When the full Moon is in the lunar house of Svhati, it transfers its teaching to us most generously. Under the star of Svhati we are given a blessing to gaze into the ways we are using our life-breath. Upon the psychic plane, under the auspices of Svhati – by the concentration of our life-force – we are fully given a glimpse into our unique individual and independent expression of life.

Our breath is the link to our individuality, the patterns of breathing that we have are at the essence of individual expressions and responses to life. By opening the doorways of Prana, constraints of the self are literally released into the wind.

We see that a new born baby exerts its independence from the mother’s womb by the taking of its first breath. We come to this world upon the inbreath and leave upon the outbreath, Vayu is the one who takes us through our destiny with every breath.

The Musical God of Breath

The ruling god of this star is Vayu who is the god of the wind element. Vayu is the deity who brings us the energy of Prana, which is the life giving principle in the air element. Prana is distilled from the air as awareness is made more subtle, rhythmical and tender.
The air element is also the element that transfers sound. Vayu happens to be the god of the celestial musicians who transfer the wisdom of sound through the air element.

The symbol of Svhati is a tiny sapling trembling in the breeze. Svhati Nakshatra awakens those parts of us that rebel against constraints upon our tendencies of individualism.
Those parts of us do not seem to fit into the constraining circumstances that destiny puts us into, are the special teaching that the star of Svhati brings to our awareness.

Svhati transmits the teaching of how to work within restraints and keep a dignified sense of empowerment. The power of this Star is independent of circumstances and conditions. We are talking about the deep internal power of Prana.

The Sword of Force

Svhati’s lesson is very much about how we deal with restraints. Another symbol of Svhati is the sword, in fact Svhati also means sword. The doubled-edged sword of exerting our individuality is what Svhati makes us aware of.

When we intelligently identify the things that constrain life, then we might gain insight into the opposite.  This way we learn to move through our destiny. Svhati Nakshatra is the energy that seeks to move through constraints by finding a solution. We could say that Svhati welcomes the challenge of restraints.

This is the energy of forbearance, patience and strategy. Such a standing takes a rhythmical steady involvement of the breath. If we consider the opposite of this, then we can see the malfunctioning expression of Svhati.

When the energy of Svhati malfunctions, we lose the awareness of strategy and we can start going off course in the use of our power. This is the energy that is not able to hold its power, regulate itself and compromise cleverly while it considers the strategy out of its predicament. Such a stance is ultimately defeating and deflating. It either sets one up against things at one’s own expense of breath, or at the opposite pole, causes resignation in declining the strategic, regulated use of life force.

What then is the panacea for the malfunctioning of the energy of Svhati? The answer lays with the god of this star. We have seen how Vayu is the lord of wind and breath. When we work with the breath, then we bring Vayu into his full power. When Vayu is in his full power, then we have a healthy unfolding of our individual capacities without having to brandish the sword to prove ourselves.
Remember that the sword is one of the symbols of Svhati Nakshatra.

A Single Breath

All battles that we envisage are battles within our very own breath. By guarding the power of our breath, we strengthen the true power of our individual life expression.
Though it might blow like a single sapling in the wind (another symbol for Svhati), it can maintain its unique power because it does not waste its breath against the many winds that blow.

On a practical level, wind (Prana) is strengthened through working with the breath, all introverting and focussed activities strengthen the Prana. Moving slowly and steadily with awareness of every breath is the surest way to the power of Prana.

On this Full Moon night of Ritual we shall gather to work with Prana to unfold the layers that connect Vayu, Svhati and Hanuman, the Monkey God who masters and teaches the art of breathing (see blog).

All are welcome to join!
Hara Ring

Hanuman Jayanti

April 24, 2021

Hanuman the Red

On a gathering storm comes
A tall handsome man
In a dusty black coat with
A red right hand
He’s a god, he’s a man,
He’s a ghost, he’s a guru.

N. Cave – Red Right Hand

Hanuman is an incarnation of the howling storm-god Rudra. Hanuman is the Guru who unfolds the secrets of Prana (pronounced Praan). The secrets between the masculine and feminine are bridged by him.

Hanuman is often seen as red. In temples one sees statures of Hanuman painted red or smeared with Sindoor. In rituals of Hanuman, he is offered the red powder. Hanuman gains strength by the Sindoor that he is offered. He is often offered flowers and items that express the fiery solar spectrum of colours.

Sindoor is a reddish powder that was originally contained a special mixture of herbs. Nowadays Sindoor is widely sold in chemical variants. In Indian custom, the married woman applies Sindoor to her head at the point where the hair is parted in the centre. At marriage the first Sindoor is applied by the husband and, upon widowhood, the Sindoor is wiped off by the mother-in-law or another living elder of the family.

The middle line at the top of the head is significant in that it relates to the energy line reflected at the opposite pole of the body at the Yoni in the woman. When a specific mixture of herbs is applied on the central hairline then it activates the Nadi (energy line) and activates the woman’s sexual chakra as makes it receptive to receive sexual currents of energy. This in turn awakens the desire of the masculine, and a mutual exchange of attraction strengthens both feminine and masculine in a circuit of exchange. Both the genders contain the active and receptive currents, so this can be said to apply outside of conventional models. There are some rituals in Tantra for instance, when a man applies Sindoor to become receptive to the Shakti of the goddess.

The story tells that Hanuman once questioned Sita as to why she was applying Sindoor to her head. Sita gave Hanuman the simple answer, that by so doing, it makes Raam into a strong man. Hanuman who loved Raam as infinitely as one could love, started to think about this.
Hanuman concluded that if a mere stripe of Sindoor would make his best friend into a strong man, then if he covered his whole body, it would make Raam invincible.
And so Hanuman took the Sindoor and smeared every inch of his body with it.
When Raam saw Hanuman and asked him what he had done, Hanuman grew nervous and said ”Nothing”. Raam knew all to well what Hanuman had done by this symbolic gesture and the devotion between friends was strengthened to levels beyond comprehension.

Hanuman the Mighty Guardian

Two worlds apart two together
Into that good night kiss away
One takes the hard, one the other
Kiss away
Are you living for love?
Are you living for love?
When the road gets too tough
Is your love strong enough?

Sisters of Mecy – Under the Gun

This story begins with a flower falling at the feet of Draupadi. Draupadi was the most beautiful woman imaginable, her name translates as she who likes to make necklaces of flowers. So when the breeze brought an enchanting flower to her feet, she was so taken by its fragrant beauty that she had to have more so she could weave a garland from it. She had never seen such a flower before and had no idea from whence it came.
Draupadi asked her beloved Bheema to find her more of such flowers.
Bheema’s name means the terrifying one. He was a fierce warrior up for any challenge and so he took to the quest for the flower that his beloved wished for. His quest for the flower took him to the very edges of the universe.

Bheema went so far that he got lost and had no sense of orientation. He seemed to catch the scent of the flower to the North and went on in that direction.
He saw a mountain in the distance through the trees and determined to leave the forest.
At the edge of the forest he came across a giant elderly monkey who was lying sprawled out upon the floor. The monkeys tail was blocking Bheema’s path out of the forest. Bheema asked the monkey to move his tail, but the Monkey said it is not possible to cross over as the path takes one into the realm of the celestials.

Bheema was getting angry as his warrior-like nature had never ever before been restrained, and now an old monkey was blocking his way onward. Bheema said to the monkey that he would murder him, if he would not immediately move his tail. The monkey replied that he was very old and weak and could not move, but said that Bheema may move his tail, if it was not too heavy for him to lift. Bheema laughed uproariously, he who was a mighty warrior would have no trouble flinging a monkeys tail aside.

Bheema prepared to fling the monkey into the next world, but found that he could not even move the tail an inch, he huffed and he puffed but was defeated. Bheema started to realise who he was dealing with and bowed in reverence and apology to Hanuman who is the mightiest of all warriors.

We see in the art of Indian wrestling that Hanuman is the patron deity of those who devote their lives to strength and power. There are ashrams in India where wrestlers make a spiritual devotional art of wrestling under the auspices of Hanuman. Hanuman told Bheema that no one can cross the path and live in this world again. It was the path into the celestial realms. He reminded Bheema that to cross over would have kept a lady waiting even longer than she already had. Hanuman pointed to where the flower that Draupadi waited for could be found, but that’s another story.

Hanuman is the Guardian of the middle realm and bars the way to the celestial spheres. In the body the middle realm represents the middle of the torso at the diaphragm area, known to Tantrics as Kala Bhand. Hunuman guards the path of Prana that can only cross the dark bridge with his blessing, it can’t be crossed with force alone. Those who gain Hanuman’s blessing may discover the magical flowers of mystical scent that please the goddess.

Hanuman the Hungry Child

Give me more
Than one caress
Satisfy this
Let the wind
Blow through your heart
For wild is the wind

Washington / Tiomkin – Wild is the Wind

As a child Hanuman easily became ravenously hungry. He is after all, an incarnation of the fiery martian force of Rudra. Rudra is nothing but a name of Shiva in his raw wild state. Rudra is different to all the gods because he stands outside of the normal ideas of what is godly and holy. Rudra is an individual amongst the gods. He is a raw Tantric god who spews in the face of propriety. He is dirty, often naked, mingling with untoward ghosts and ghouls.

The old stories recount time and again that Rudra is not invited to their gatherings as he upsets the order of everywhere he puts his fiery foot. Every step of Rudra causes a quivering of stormy thunderous howls. Rudra literally means the screaming howler. He was said to be born androgynous and Indigo coloured, screaming in such a rage that the order of creation was fractured beyond repair.

Half of him is always wild. His potent wilderness is what makes him the master of Tantra. Rudra channels his thunderous Shakti into the Yogic arts that he at the same time creates. Shiva is his name in the form where he contains the Rudra power. Ever an outsider, Rudra can go places where the usual gods fear to tread.

The story goes that Hanuman was so hungry with the appetite of Rudra beginning to roar in his belly that he looked up and mistook the sun for a Mango. He flew with the force of Prana (wind power) and started feasting on the Sun in the hope of appeasing his hunger.
Just at that very moment Rahu (the North Node of the Moon) was approaching the sun in order to eclipse it. Rahu is the planetary force that causes solar eclipses. Eclipses occur when the Sun and Moon are positioned in the node points.
Rahu Dosh is the ‘curse of Rahu’ and causes an eclipsing of one’s solar force.

Rituals of Hunuman
are undergone when one
has an affliction of their solar force.
If the Rahu within us becomes pronounced
it causes maladies
such as depression and anxiety.

Hanuman is a potent force who is worked with when considering the shadowing of Solar force. There is a well-known Mantra called of Hanuman known as the Hanuman Chalisa. It is composed of 40 verses and contains the sounds and syllables that awaken the solar force. It is understood as a Tantric remedy to help with afflictions of Rahu.

Rahu is the head without a body,
ever hungry but never satisfied or nourished,
this sums up the afflictions of Rahu.

When Hanuman was busy feasting upon the sun, he happened to divert Rahu from causing an eclipse. Indra, the king of the celestial spheres saw this and knew it would upset the planetary order and so he sent a vajra beam (thunderbolt) that hit Hunuman in the face and sent him whirling to earth. The full brunt of the Vajra beam was taken by Hanuman’s jaw. This gives him the name Hanuman which means ‘of heavy jaw’.

Hanuman was left for dead and his father, Vayu, the god of the wind, in his mourning went far away and left the 3 worlds completely devoid of breath. Everything started to wither and die. Only when Shiva brought Hanuman back to life did Vayu return to fill creation with the breath-of-life once again. Spring is a time when we find the greatest abundance of Prana in the atmosphere, which is what brings things to life.

Hanuman was in turn blessed by the gods and received powers untold, even Indra humbly bowed and gave Hanuman the power of Vajra Shakti. In being stuck by Indra’s Vajra, Hanuman had lost his memory from the jolt, and with that, had forgotten the full extent of his powers old and new. So Hanuman, in his amnesia, could not get up to any further cosmic mischief… for a while at least!

The story presents multiple layers of meaning, which are worthy of meditation.

It tells of the effects of working with raising heat through working with the breath. The jaw being instrumental in advanced breath practices. The story also points to the cosmological event of the eclipse and points to how Hanuman can divert the eclipsing effects of Rahu. Hanuman is the mighty lord of breath who opens the repressed, oppressed eclipsed parts of active expression in the constellation of our Soul.

Hanuman the Devoted

Sita Raam, Hanuman, Pranayam Pranaam

“I’m not a holy man
I’m too lowly for that
I’m not a praying man
I’m not ready for that.

Bunnymen – Monkeys

The Mudra of Hanuman actively draws the chest apart with the action of the hands. By placing pressure on particular energy points, the physical and psychic heart is opened. This Mudra is effective in working with the energies of the Heart Chakra.

Hunuman is always chanting the Mantra of the goddess and the god of the sacred heart. The Mantra comes not only from his lips, but from his very heart.

Sita Raam, Sita Raam, Sita Raam.

One tale of Hanuman that highlights the devotion of his heart goes thus…
Hanuman once received the gift of a Mala. A Mala is a necklace of sacred beads that the Yogin makes use of in Tantric practices. Within the lines of Tantra, a Yogin may receive a Mala as an honorary gift of devotion from an elder.

Hanuman did not really know what to do with the necklace he received and viewed it as an unnecessary superfluous item that he had no need for. After a while he had an idea and began biting down one by one on each and every bead. Monkeys are known for their strong bite!
Cracking each bead in half with a pop he would meticulously inspect it and then throw it on the gathering pile of other broken beads. Those present watched the spectacle with mockery and astonishment until the necklace was nothing but a pile of broken beads.

Ridiculed and laughed at for his apparently primitive behaviour, Hanuman was asked why he had destroyed such a precious necklace. Hanuman replied that the necklace was worthless because it did not have Sita Raam within it. He said he could confirm it as he had carefully checked each and every bead. A voice retaliated… “And you must be equally worthless for such a silly act, surely if we split you in half, we would not find Sita Raam”. Hanuman’s love had never been questioned before and instinctually, he sank his claws into his chest and tore it open to reveal his heart that beat out the Mantra:

Sita Raam, Sita Raam, Sita Raam.

His best friend Raam embraced Hanuman immediately and the love that transpired between them healed the gaping would in Hanuman’s chest. Hanuman was sometimes taken for a fool because he had no self-importance. All that he was, was:

Sita Raam, Sita Raam, Sita Raam.

The Naughty Little Monkeys of the Mind

Rama and the Monkeys are well known for building a bridge over the sea. The Raam-Setu is the Bridge that Raam built with the Monkeys. It represents the crossing of the waters of the second Chakra. Raam and the Monkeys carried massive rocks into the sea to build the crossing to traverse the sea. The strenuous work seemed never-ending and required great strength and focus of all involved.

While the Monkeys worked the boulders into the crossing, there was a tiny little squirrel who had joined in. The squirrel was carrying little stones and dropping them into the sea to help with the formation of the bridge. The little squirrel accidentally crossed the path of a giant ape who was carrying a mountainous boulder upon his shoulder.

The Monkey was shocked by the sudden appearance of the tiny squirrel that he almost stepped on. The monkey went into a rage and began to roar in anger at the tiny helpless creature. The tiny squirrel apologised and asked the monkey to watch his step.
The Squirrel said that he too was doing the great work of building the bridge.

The Monkey started to laugh and ridicule the squirrel. But the squirrel said that he was using all his strength to help in building the bridge. A few of the other monkeys started laughing at the squirrel who thought that he could do anything to help. One monkey picked up the squirrel by the tail and flung him into the distance like a useless piece of trash.

The squirrel started to squeal out in pain, which made a few of the monkeys laugh even more. Raam saw what was going on and lifted the tiny creature to his heart, who luckily was not injured.

Raam reprimanded the arrogant cruel and heartless monkeys for making fun of and abusing a helpless little creature. Raam told them that though they have strength of muscle, they are weaker than the little squirrel by far, as they have no strength of Love in their Hearts. The monkeys took the teaching and hung their heads in deep shame.

Raam told the monkeys of the importance of the squirrel. He told them that if it were not for the tiny pebbles between the cracks, the whole structure would not hold together and would crumble apart into the waters.

Every effort
no matter how tiny is of importance,
the smallest acts done
with the greatest amount of love
are the most potent.

Raam gently stroked the back of the squirrel with his three fingers. Three white stripes appeared where Raam stroked the squirrel and they remain there to this very day.

Hanuman the Healer

O, solitude of longing
Where love has been confined
Come healing of the body
Come healing of the mind

L.Cohen – Come Healing

One inspiring tale amongst Hanuman’s many adventures, tells of him addressing a dire emergency. The casualty was already more than half-way into the next world and seemed fated to die unless a very rare herb – that only grew on one particular mountain – was located.
Hanuman, ever one for a heroic quest of power, went to task.

After much searching, Hanuman was having little luck, desperately flying around like a red-arsed-monkey, he was shot-down at the pinnacle of his despair. As he fell from the skies in which he flew, the flashing oppression of failure tortured his soul. Fate appeared to have taken a bad turn as he hit the ground.

The arrow that shot Hanuman down was shot in the name of Raam. A devotee thought that he was protecting Raam. He saw Hanuman and thought he was some kind of giant flying monkey with a demonic intention to harm Raam. The arrow that was sent in the name of Hanuman’s most beloved friend could cause no harm, for as Hanuman flew around on his heroic quest, the name of his friend Raam, was reverberating in his very heart. The psychic web of radiance that emanated from Hanuman’s heart caught the frequency that it was beating with. The one who fired the arrow proved to be a most valuable ally that told Hanuman where the exact mountain that the herb grew on was located.

On charged Hanuman in the pursuit against death!
Hanuman came upon the mountain after a further flight, but he realised he had lost too much valuable time to go looking for the herb, and so Hanuman decided to take the whole mountain with him.
The famous image of Hanuman flying with the mountain, is a much loved picture that tells of the many subtle wisdoms inherent in this story…

When we go at something with Love in our heart, even a seeming foe becomes a friend. Just in the nick-of-time, Hanuman reached the casualty who had almost crossed over to the land of death. The herb was administered and life went on.

The Sanjeevani herb is an Elixiral remedy that can revive the dead. Many have searched to find it and failed, for the Sanjeevani can only be found in Love.

Hanuman the Wind

The wind is whistling,
The wind is whistling
Through the house.
The wind, it blows,
The wind, it blows the door closed.

K. Bush – King of the Mountain

Hanuman is the child of the wind. He is famous for his epic flight. It was Hanuman who crossed the sea and rescued Sita when she was abducted and separated from Raam and himself.

Hanuman crossed the waters of the second chakra in one-fell-swoop of a leap and eventually got her back home. As Hanuman leapt over the waters, his legs started to part into the splits, which is the position named after him as Hanumanasan – this physical Mudra causes the out-breath to double in length and generates great Prana in the system.
But that’s not the full story, the Prana flew across the river but it also had to come back. Hanuman needed assistance once he reached the other side where the goddess Sita was trapped by asuras in an enchanted forest. The building of the Raam-Setu bridge was undertaken by all creatures great and small. This story gives form to the Settubhandasan position in Yogic practice. This position is commonly called the bridge position and is an important Hatha Yog Mudra that spreads out the Pranic breath power across the sea of the second Chakra and brings the entrapped goddess back from across the waters of the second Chakra and its Karmic entrapments.

Initially Hanuman did not believe that he could make the leap across the sea to rescue the Goddess Sita. Hanuman had still not recovered the full awareness of his powers after the thunderbolt of Indra had struck him in the face. That shot in the face had caused Hanuman an amnesia where he forgot the full extent of his true power.
It was Jambavan, the immortal ancient bear god who brought Hanuman back to the awareness that he was no ordinary Monkey. Hanuman woke from his trance as Jambavan gave him a teaching of eternities. Without further ado, Hanuman took the great leap of Pranic force towards the entrapped Goddess.

Another story that highlights Hanuman’s connection to the breath takes form when Hanuman was separated from the goddess and the god in the form of Sita and Raam. The story tells that one day Sita asked Hanuman if he would disappear for a little while because she needed to attend to some secret matters with Raam. Hanuman who was always with them did not understand and said nothing is secret for us. Sita insisted that certain matters required privacy. Hanuman honoured the request and let the Lovers disappear into their chamber without him.

In the absence of Hanuman, the love between Sita and Raam grew frail and Raam started to struggled for breath. A physician was called who could not understand what had happened. Sita worked it out and asked for Hanuman to be brought in. As soon as he appeared, colour, breath and love returned in full glory.

When Hanuman – who is breath and Prana – is separated from Sita and Raam, then disaster ensues. Sita is the Cooling receptive lunar breath and Raam is the Heating active solar expression of the breath. Fire can’t live without air and so in the absence of Hanuman, Raam became cold and powerless and found himself suffocated until all 3 of them were reunited.
The Tantric brings the two polar aspects of cooling Moon and heating Solar force into balance through the wind of Prana… that is, Hanuman.

The Death of Hanuman

A bridge of sighs
Solitude sails
In a wave of forgiveness
On angels’ wings.
How in the world
Can I wish for this?
Never to be torn apart
Close to you
‘Til the last beat
Of my heart

Siouxsie & the Banshees – Last beat of my Heart

Hanuman is considered the greatest Bhakta (devotee) of all time. His every breath is devotion to Sita Raam. Raam was his very best friend. His beginning, his middle and his end. One day Raam himself had to order Hanuman’s execution.

The tragedy happened when Hanuman inadvertently caused offense to Raam’s Guru. Raam followed the custom of devotion and never crossing the instructions of one’s Guru. The three worlds shuddered as Raam raised his bow. The greatest master of the bow and arrow that he was. Raam had to order the death of his best friend by arrows.
With tears in his eyes, Raam raised the first arrow, took aim and released it towards Hanuman who never stopped chanting Raam’s name… even as the arrow flew.

If you would like to learn more about Hanuman and join our Hanuman Full Moon Ritual


Pushya Nakshatra

April 17, 2021

A Generous Helping of Starry Moon Milk


I got a better way
I discovered a Star
I got a better way
Ready, set, go.

D. Bowie – New Killer Star

This rising Half Moon on Wednesday will be in the Nakshatra (lunar house) of Pushya – which means, quite literally the nourisher. Brhaspati (Jupiter) is Guru to the gods and is the deity of this lunar house. He is connected to wisdom, expansion and subtle thought.

Pushya is an auspicious star, that shines nourishment, prosperity and growth to us on earth. The Motherly Pushya Nakshatra is contained within the constellation of Cancer and has 3 stars. Pushya Nakshatra occurring on an ascending Half Moon is a powerful and auspicious placement that helps us to see into the consequences of the decisions we make. Pushya offers us the energy conducive to nourish new beginnings, decisions and opportunities.

The Star Goddess Tara has her Jayanti (annual commemoration) upon this night of nourishment. Tara appears only at night, just as her name which means Star implies.

Tara has the wisdom of converting poison into nourishing medicine. She feeds us with the healing blue twilight milk of her celestially starry breast. Hers is the twilight milk that dissolves the sharp definitions between dark and light, safety and fear, seen and unseen.

The story tells us that when the mighty Shiva suffered great turmoil for drinking the Halahala poison. Out of maternal compassion, Tara fed Shiva from her breast with a generous helping of healing Starry Moon Milk.

The Mirror of Nourishment

Brhaspati is the planet Jupiter. He is the Guru to the gods. He is the deity of this lunar house and is connected to wisdom, expansion and subtle thought.

Pushya is the amplifier, Pushya as an adjective indicates someone who is well nourished, healthy and rosey-cheeked like a well fed baby.

Brhaspati knows which things give nourishment and which things do not. Brhaspati sees into the subtle underlying forces of the phenomenal universe and knows and shows exactly which things are magically reflected back by the decisions that we take. When we look at the meaning of his name we see this principle at play, Brhas means that which nourishes and magnifies, Pati means master. So literally Brhaspati is the master of that which nourishes, magnifies and increases.

In this Nakshatra,
Brhaspati brings us this very teaching,
giving us the vision
of the mirror of nourishment.

The mirror of nourishing force might be smeared, if so, it won’t fully reflect things back to us. If the mirror is pristine then it reciprocates that which is given into it. Nourishment is like this. We could just as well say, if the soil is well tilled and receptive, then it will give back of the seed that we sow there. If the soil is hardened and strewn with rocks then the seeds will fall into a barren death.

We sometimes put our energy into things where nothing comes back to us. If we focus our concentration and go into the subtle underlying forces of the phenomena of our lives, we might get closer to the vision of what we are actually feeding. The reasons we might be feeding some things that do not nourish us is a lesson of the highest magic, this is the investigation of the Tantric. Nourishing dead soil naturally leads us into a life of malnutrition. If the soil fertilizes the seed then we have harvest. Harvest starts on the subtle planes and manifests into the tangible.

A Time to Decide

Pushya is the magical milk of nourishment. The lunar vessel on the night of Pushya is half full with the illumination of Moonlight. The Moon will be beaming the rays of Pushya to us on earth on this coming half Moon. As it is the rising Moon, it will continue to expand the psychic action and decision we take upon this night. 

This is a most favourable position
to give an impetus of growth
to our visions and decisions.

The half rising Pushya Moon brings an impetus of nourishment that can profoundly support our human undertakings. This Nakshatra is aptly symbolised by a milk-filled fortifying cows udder and a lotus flower in the height of bloom.

The Pushya Half Moon is a good time for new undertakings and making clear resolutions of the stray and fraying edges of the psychic fabric of our being. The lunar energy on the half rising Pushya Moon, reveals, two roads of our destiny in stark distinction. It is a time of thinking soberly about where we are going and perhaps even seeing into… what the outcome of our endeavours could really be.

Pushya pours milk-like nourishment and fulfilment into the infancies of our visions upon earth, it is a mothering star for this reason, who like a mother, gives flesh, form and nourishment to the infancy of any vision and undertaking. Those new ventures undertaken on a Pushya full Moon can bear great fruit and success if one continues the ever attentive work of nourishment.

Living off the Fat of the Land

The lesson of Pushya Nakshatra is all about developing the awareness of nourishing the opportunities we receive. There might be opportunities around us that we don’t always see. There might be openings that we are not able to recognise as doorways to power.

There is an old Indian teaching story of a person wandering in a dark labyrinth-like place. They went round and round, ever and always looking for the doorway out of their prison, but each and every time they actually reached the door to their freedom, the draft that came in, caused a moment of distraction in which they scratched their head, and so they ever missed the way out and continued in eternal circles.

It is perhaps easy
to take our health, successes
and opportunities for granted. 

Even if our receivings are generous, they dwindle away if the law of nourishment is forgotten. What is that law? Perhaps the work of a good earning is never to be taken for granted and one must remember that the soil must be eternally nourished and tilled. Perhaps we are brought to question our notions of wealth by the Pushya star constellation. 

If we realise that there is no resignation or retirement in magical matters of growth, then we might be spared from psychic death. Living off the fat of the land and laying down one’s tools is perhaps the biggest and most crippling of all fallacies.

The Lotus in Bloom

Pushya also carries another law of nourishment to us by its rulership over the lotus flower. The law of nourishing by halves is implicit in our lives. A period of exertion is naturally followed by respite. Living by the sun is replaced by the nightly retirement into the darkness.

This law of dualisms is starkly reflected in the being of the lotus flower. A flower held in high esteem by the Yogins. The Lotus is a flower with far-reaching roots that gains her nourishment from deep dark of marshy subterranean places. The lesson and law of nourishment by the way of polarity is inherent in the Lotus. This flower is greatly prized for its beauty and honest and generous teaching of the laws of reality. The Lotus flower spreads magnificence and emanates an aura of an almost otherworldly beauty. This mystical bloom shows us how it’s beauty and nourishment comes from the underground of dark, womb-deep places. The precious Lotus flower that spreads her colour and scent in the visible world obeys – perhaps like no other – the law of nourishing by polarity. The Yogins tell us time and again to be like the Lotus flower.

Pushya is the deep introspective study
of the Lotus flower…
so magical and so natural.

The Psychic Web of Karma.

Pushya is regarded as the lucky star, but luck is dependent upon the actions that we take. What is luck exactly? The luck that Pushya offers us is conditional upon the choices that we make and the energies that we nourish. A bloom is a thing of beauty. Throwing seed upon wintery granite grave and hoping for luck to bring us the beauty of a blossom growth is obviously an act of absurdity. The same seed cast upon fertile moist soil in spring is far more likely to result in growth. We see in this way that what we might term as luck, is dependent on choices of wise vision.

Karmic effect
is the manifestation
of a resonant energy field
that lives in the psychic hemisphere
of our being.

When something involves us and touches all the aspects of our being then it becomes a web that catches the phenomena of our lives. Tantric ritual practices work with the principle of the psychic web of energy, by attempting to engage the full range of our being, both the unrevealed and revealed parts of ourselves.

The law of Karma is often summed up as ‘what you sow you reap’. Karma is not as simple a matter as to reduce actions to a moral code of obedience, that is punished or rewarded according to the degree of abidance or deviation. 

Karma lives in the very psychic realities that we align ourselves to. Some of what we align to might be out of sight and invisible to us. The Tantric process of making the invisible become visible, then becomes a way to navigate beyond the psychic webs of Karma. What lays beyond the webs of Karma is unknowable while we are within the web, we are dealing with a great mystical voyage.

The psychic karmic realities that are we aligning to, become the investigation of Pushya. 

Karma could aptly be described as a magnetic psychic web.

  • What kind of web are we weaving? 
  • Perhaps we are the spider and the fly?
  • Are we catching life of death?
  • Or perhaps a little bit of both?
Still from ‘The Picture of Dorian Grey’, 1945

Smears on the Psychic Mirror

What are the reasons why we might be feeding dead soil and therefore reaping a desolate harvest? Might it be based on the illusions that we have taken in? These illusions are called the Granthis by the Tantrics. Granthis are like smears on the psychic mirror of the self. It is these smears that cause the reflection of life to be reduced to obscure knotted forms.

Brhaspati (Jupiter) is the Guru of the gods and he is a strict discriminatory force. He is most generous indeed but he only gives to those who meet his subtle psychic standards.

Shukracharia (Venus) is the opposite of Brhaspati. Venus is the Guru who gives generously and indiscriminately of his riches. This is why he is the chosen Guru of the Asuras. 

The Asuras are the beings of dualistic destruction. Very often we see that the Asuras are described as demons, but this does not at all translate correctly what the Asuras really are and carries too many foreign connotations to be accurate.  Venus gives us prosperity, joy and pleasure in an earthly sense (Shukra in his name literally means the essence and seed). Venus spreads out and down and is received by laying down.  Jupiter on the other hand moves up and out and takes the opposite action to gravity. In other words…

…to reach the levels of Jupiter,
it takes a psychic climb
through the winding
labyrinths and stairways
of the mind.

Polishing the Mirror

Brhaspati (Jupiter) is reached through psychic Tapasya (effort). Tapasya could be called the polishing of the Psychic Mirror of the self.This is the effort to go beyond the frontiers of consciousness and towards the ultra-terrestrial potentials of the psyche.

Brhaspati is the master of magical ritual formulae. It is he who leads us beyond the limits of consciousness through his penetrating force within magical ritual. He is the Jupitarian high-priest with the magical wisdom that transforms the subtle layers of reality… which in turn change the experience of reality itself. He is the doorway keeper to the mysteries beyond the known, his conditions take the work of undoing and outdoing oneself. Unlike Venus who gives it for free.

Pushya brings a blessing of vision to us on earth. That blessing is the ability to make the right decisions. There are other Nakshatra’s that bring us different lessons pertaining to nourishment. The Yogin studies the lessons written in the stars, by tuning into the celestial forces through ritualistic formulae and devotion.

In conclusion, Pushya’s particular lesson, as we have seen, is very much concerned with finding the distinction between that which nourishes and that which does not. One of the symbols of this Star is the cow’s udder. This is the naturally most nourishing place for the baby. The soul that finds the nourishing breast in all arenas of life, becomes the baby, nourished by Mother Nature.

If you would like to join us in ritual
on Wendesday’s Ascending Half Moon
for Tara Jayanti


Hara Ring


April 15, 2021


Half Ascending Moon


Tara, you whose name means Star.
Goddess of twilight blue complexion.
You who nursed Shiva with your healing milk
when he suffered for drinking too much poison.
You are the twilight sanctuary
that heals the most poisonous places

– Boonath

Tara is a frightening Goddess to behold, she appears only at night, like her name which means Star. Tara has the wisdom of converting poison into medicine, just as the story tells when the mighty Shiva suffered great turmoil for drinking the Halahala poison. Out of maternal compassion, which she offers to the courageous, she fed Shiva from her breast.
She fed him the healing blue twilight milk of her starry breast – the twilight milk that dissolves the sharp definitions of dark and light, of pleasure and pain.
Tara’s annual Puja takes place upon the April half Moon, in the rising place where opposites meet.

She is the power between light and dark. Her Jayanti (birthday) upon the half Moon that is half dark and half illuminated and calls the soul to a tantalizing voyage of discovery within the mysterious cleavage between opposites.
Her Puja (ritualistic worship) works with the star portals that shine between the known and the unknown.

The Astral Star plane

Tara grants us the vision of the invisible world.
She who’s name means Star,
is the doorkeeper to the astral world

Tara means Star. She is the doorkeeper to the astral world of spiritual energies and insight. Working with Tara grants us the vision of the invisible world. We can see many Star goddesses across cultures.

Sometimes we find striking similarities to the Mahavidya Goddess Tara when we look at the cross-cultural goddesses of the Stars. We find the Greek goddess Astraea, for instance, she is the Virgin star girl who gives her name to the Astraea asteroid of the asteroid belt. She is daughter to the astrological god Astraeus who fathers her along with the planets as his sons.
We also find Asteria. She is the Ancient Greek Goddess of the stars, her daughter is Hecate, who is the goddess of the dark side of the Moon.
Hecate is a grand witch who shares many similarities with Tara – both are connected with ghostly occult matters, both dwell in far-off liminal places, both are connected to poisons and dogs, just to name a few…

We can continuously find Star configurations of goddesses and gods across cultures, if we keep looking. It appears that the ancients read the stars and had a comprehensive language which we might term mythology nowadays.

Ritual Practices

& the Hidden view of the Witch

Mistress of the starlight and the natural dark. 
Tara is fear inducing and exciting 
because she is a leap of faith.

Tara is the grand witch who looks into the unseen view. Her Mudras are many and involve some of the most challenging aspects of Hatha Yog, where the body is twisted and the gaze taken to the most unusual and unfamiliar places.
By looking into physically unfamiliar places the psychic levels of our being, by the law of reflection and correspondence, is also able to access the hidden view of the Witch.

Working with Tara is very much an investigation into pleasure and pain but, twisting past the limits of comfort and familiarity is a painful yet magically rewarding pursuit.
In Tantric practice, there are many variants of Tarasan… this is the star position of Tara, that makes a star-like-shape of the body.
Kamal-Tara-Asan is the Love Star, Padma-Tara-Asan is the Star Flower,
Vajra-Tara-Asan is the electric star, to name a few variants.
Each star position has different effects and activates different astral forces.
The Mudras of Tara are a form of invocation, for they open us up to the celestial forces by exposing the astral body to the starry world and its healing astral beams.

The stars are located in the human astral body in a mirror-like replica. The energy junctions and places where they intersect in the body are the points of power which, when opened up, start to receive the celestial forces from the macrocosm.

The Tantric on the starry path of Tara dissolves the veil between the microcosm and macrocosm. Drinking the dark blue milk of the breast of Tara is the healing Elixir that melts the borders that divide.
These borders are known as the Granthis (psychophysical knots). The Goddess Tara helps in melting the most tenacious of Granthis, but she requires us to tread into unfamiliar, forgotten and even unknown places.
Remember that the very action of the Mudras of Tara involve twisting the physical gaze into places we don’t usually look. By doing so we take the energy body into the secret places of starry treasure.


She dwells on the outskirts,
like a star in the sky,
always there
but only seen fully in the natural
and unpolluted dark.

Mistress of the starlight and of the natural dark. Tara is fear inducing & exciting because she requires a leap of faith.
When we know the path, there is a sense of safety and grounding, but when we are not even sure whether the next step will be on solid ground or a gaping abyss, then it’s fear wrenching to venture forth. Tara’s path is seldom trodden, and as a result many of her treasures are never found.

The path of Tara takes courage. Her route is not for the sailor who navigates the sea with a compass and auto pilot on a satellite navigation system, no!
Rather she stands for the pirate soul who sails out ruthlessly into a dark, howling night, not knowing what awaits, but called by a strange mystery, that whispers as it licks its red lips with the saliva of a luscious gamble.”

There is no guarantee of safety with Tara and that’s what makes the soul who follows the way of the Star a courageous soul of power.
Without the unknown, creativity runs dry. When we ‘live’ in life that has no room for the unknown, it won’t feel like life at all.
Many aspects of life involve predictability as an indispensable component, but the unknown and the unpredictable is equally indispensable!


Tara holds the blue flower
of the hidden wisdom of Twilight.
Drinking the dark blue milk of the breast of Tara
is the healing Elixir that melts the borders that divide

Tara holds the mystical blue flower called Neelkamal, a flower which, when prepared in a specific way and imbibed, gives admittance to secret places, both in a terrestrial and in an ultra-terrestrial plane.
Tara is known as Neel Saraswati, the blue Goddess of the hidden wisdom of Twilight.
The Blue flower is the Star flower, around which the healing ritual of Tara revolves. Tara is the Mistresses of the Blue flower that guards the secrets of twilight. Hers are the secrets, where Elixir is tasted and divisions are melted.

Where Kali wears a necklace of freshly severed heads, Tara wears a necklace of skulls. This is a deep subject for meditation and will be covered in the ritual and the lessons that follow.
In appearance Tara looks like Kali Ma, but there are a few differences that can be discovered by looking closely into her mysteries.

We look forward to welcoming you
into the circle ritual on the upcoming Half Moon.

Hara Ring

To join the ritual,


Revati Nakshatra

April 10, 2021

The Nourised Spirit

– A Sunday Read –

Well, they lay down beside me
I made my confession to them
They touched both my eyes
And I touched the dew on their hem
If your life is a leaf
That the seasons tear off and condemn
They will bind you with love
That is graceful and green as a stem

L. Cohen – Sisters of Mercy

The Dark Moon of Soma on Monday will be in the lunar house of Revati.
The Revati Stars are located is in the constellation of Pisces.
The two fish are in-fact one of the symbols of Revati.
Revati is ruled by Budha (planet Mercury).
Revati is a star that communicates the lessons of nourishing vitality and psychic wealth to us on Earth.
At the Dark Moon the lunar vortex in the lunar house of Revati, draws out our deepest themes and ‘thought-forms’ pertaining to nourishment.

A Friend of Heart

The god of the star of Revati is Pushan. He is the nourisher that cares for all creatures, whether they be bright or dark in their beauty. His name means ‘the one who brings prosperity to all creatures’.
Pushan is kindly nurturing god with a generous bent of nature. He is always able to provide to all creatures that are in need. Pushan is generous on all levels, he is the friend that gives the heart what is needed, both emotionally as well as practically. He is a cow-herder and holds the Gohdanda, which is the Cow-stick-of-power.

Whenever Pushan is invoked he infuses the atmosphere with compassion, love and beauty. The strike of his cow stick penetrates the shadows of selfishness that encase the sacred heart. Pushan lives from milk and liquid foods and creates the wealth of Soma. Pushan’s wealth is love and in this he is rich beyond measure, he has no enemies or adversaries as his mere presence is enough to warm the coldest and most self-focussed of hearts. Pushan comes to heal the self-focussed obsession that destroys love. He is Maha-Parush (a great abundant soul). He is a guide that comes out when called and can help the heart recover its lost fragments of power.

Revati Nakshatra translates as ‘the star that is full and wealthy with nourishing force’. Revati is beauty. It is often translated as the Star of riches and wealth. The special wealth of Revati is an inner quality of beauty that is possessed by a being who is able to nourish others. Revati can bring this quality to us.
The lesson of Revati is all about nourishment.

This star show us that
only those who are themselves nourished
are able to nourish others.

The Secret of Soma

We might sometimes find ourselves giving without having any reserves to give from. If we track such actions of giving with honest reflection, then we will find that such giving is an empty powerless screech in the dark that carries no power. We might sometimes hit a one-hit-wonder with such actions, but it is not anything that will endure for very long.
The power that Revati brings us is very much connected to the hidden teaching of the Elixir of Soma.
This teaching shows us that:

Giving from an unnourished place
is essentially an action of little consequence
that will deplete our reserves.

Revati is a steady swimming star that gradually warms the stove and is ever aware of the reserve store of firewood that must see one over for a whole season.
Revati star shines down an integrity of awareness that is not fuelled by emotional tides and impulses, but by a deeper awareness that moves with a panoramic vision.
The first impulse of Revati is to nourish one’s home before bringing fires further afield.


Revati is very much the energy of Motherhood. The infant is to be fed before all matters can commence. If we ignore the teaching of Revati, then we live a life fuelled by the fires of emotion and one day find that we have frozen in the home of our own heart.
Revati is very much the star of the teacher. A teacher of any subject can only teach if they have learned something themselves. A teacher who has not learned something cannot nourish the students and will waste precious time in indulging in superficialities.
Revati is the cycle of flowing nourishment. The Mother who has a nourishing force with her, has the possibility to nourish and therefore can attract the child that requires nourishment. This applies in all fields of life and sums up the lesson of this star.

The Vampire

In the opposite way, we could say that the empty and depleted are vampirised by something and in turn are only good themselves to vampirise something. Revati is the star that breaks the cycle of psychic vampirism.

Revati is a parental force.
Revati is a force of devotional nourishment.

This applies to taking care of anything that requires life blood, a project of any kind requires us to nourish it. Sometimes we might find ourselves more on the tail end of receiving nourishment and ready to lap it up and not give into the enterprise. But this goes hand in hand with a thought form of poverty that itself feels empty and keeps the stove of the heart cold. 
We might take the back-seat of the receiver and never step into the driving force of the giver. The driving seat is a wealthy nourished seat that knows it has to load the tank with fuel after the drive of power. The one who waits that the tank is loaded for them, steps into the arena of the vampire and lives themselves a half-life where blood is scarce. 

Healing Childhood

We could say that Revati is connected to feeling Mothered. One who feels they don’t have enough mothering themselves naturally will not be a mother. Revati is a star that gives its magic if we are able to heal our relation to motherhood.

To feel
that we are nourished from life
represents a massive step.

We might be striving under the thought form that we have not quite made it yet, or that we are yet to receive the milk of life that awaits us just around a corner that never comes. Revati is indeed the astral investigation of the energies of the Mother.
We are not able to give what we don’t ourselves have. This is the cold fact.

Motherhood is a quality that might never appear from the outside, but a quality that we ourselves may have to instigate deep in our own hearts for the very sake of the sacred heart itself. Ideally, the first part of life ought to be the time when we receive nourishment. But, ideals may sometimes be far from reality though.

The second half is the time when we are ourselves the nourisher. If we did not receive in the first half then the second half may be a time of inner and outer war. We have to learn the wisdom of halves sometimes and realize that the fire must be built, if it is to radiate warmth. This shows us that Revati is very much a star that shines on us to help us break the patterns of childhood lack.

We may not be able to give
what we don’t have,
but we may be able to learn
to heal our wounds and patterns 
and find the opening to nourish
what was never nourished in us.


If you would like to join our ritual
on Monday’s Somavati Moon,


Somavati Amvasya

April 6, 2021


Somavati Ritual

Soma is the sacred and Healing Moon fluid. 
Once or twice a year the dark Moon falls on a Monday.
This night is named Somavati
in the Tantric calendar
and is a night of working with the inner subtle
psycho/physical compound
of lunar essence called Soma.


Soma gives strength to softness and simplicity, it is cultivated in simplifying our lives and softening our edges of the heart. When Soma is abundant in the system, we have spiritual vision and physical fluidity. Soma is a cooling fluid that heals the inner fires that consume power, it softens the heart and draws one into the spiritual womb of compassion.

Soma is ritualised
with the 3 fluids of
wine, milk & water,
which represent
blood, sex & death.


The Life is in the Blood

Kali Ma is the blood. It has been said that the life is in the blood. The blood is ritualised as wine and pertains to the urge of life. Kali Ma is the great Mother Nature. She is the ruthless force of nature that drinks blood. She is at once the blood of creation and is she who drinks it. 

Kali Ma
is the stream of nature
and she is mother to the innocent.

The innocent are those who trust in the wisdom and the way of nature. There may be some things in our lives that we can’t trust, but nature never lies. She may be ruthless and destructive in her bloody laws, but she is ever honest. In Somavati ritual, a glass of wine is placed on the altar and becomes a doorway to the mysteries of Kali Ma. It stands on the left as a reminder of Kali being the overseer of the left hand path of Tantra.


The Milk of Desire

Kamakhya is the Goddess of desire, she is the sexual impulse that heats the blood. She moves the blood and creates the milk of love through her friction. She presides over Ovulation and Menstruation and is the keeper of the secrets of the sexual doorway. 

Kamakhya is the desire
to merge with one’s opposite
and voyage into intimate involvement
with what is essentially a mystery to us.

A vessel filled with milk is placed upon the Somavati altar in honour of Kamakhya. The milk becomes a psychic medium to make connection with the forces of desire. Desire is the friction that is created when the blood of life rubs with the water of death. It is the milk between the meeting of opposites and for this reason sits in the middle of the Somavati altar.


The Watery Death

Kala is the lord of time and death, he is the lover of Kali Ma. Where Kali Ma is the force behind and beyond time and death – Kala is the time and death. He is the rhythmic ticking of the clock of Time, standing in every direction with the Kankala Danda (skeleton stick) that measures our lives.

Death is ever there,
but like water in a glass,
it can’t be seen.

The old custom of dumping the dead body into the sacred river has been an integral part of the customs of death in Indian culture. The  places where rivers ran North were often favored as the doorway out of the realm of Kala… who awaits in the North. We place a wessel of water on the right. The solar circle moves to the right and its heat consumes life. Kala is the wisdom to approach the circle of life from a cool seat.


The Fluidic Friend

Shiva is Somanath,
the friend of the Moon.

Shiva wears the moon ever in his crown and carries the soft wisdom of the feminine lunar energies in his heart. Somanath is the eternal Yogin who balances the fluids and becomes as receptive as the Moon to the Elixiral floods of Soma.

We shall evoke the Somanath in our heart by calling his Mantra. His Mantra cools the fires and allows the cooling Soma fluid to wash over us in healing waves of splendour.

Somanath is the eternal Yogi crowned by Moonlight. Somanath lives in the spirit of all souls who tread the path of Magical Lunar glow in the dark, giving honour to the feminine night forces of nourishment. By his honour the touch of the Goddess is given. Soma is the Heart softening, feminine path of Magic Moonlight. Like the Moon that shines brightly in the night sky, the Soma of Somanath is cultivated in the dark.


Consuming Heat

Tejas is the cool fire of psychic and spiritual power. The opposite of Tejas is the hot fire of Agni. Tantra is concerned with bringing both the cooling and the heating fires into a balanced dance with each other. Soma vivifies and creates, whereas Agni consumes and destroys. Both of these fires are needed in the correct proportions in the constituents of our body and spirit.

A balance of these forces is required to open the subtle portals of awareness. An abundance of Agni fire in our psycho/physical mechanism is the ill of modern times.

The overemphasis of Agni not only consumes the finer currents of awareness but creates stress in the system and ages the body.

on the other hand
is the juice of eternal youth.

Some forms of activity consume Soma and some forms of activity vivify the Soma fluid of the Moon within us. Heating pursuits and emotions, extroversion and over activity consume Soma, above all rushing depletes Soma. Introversion, rest and slowing down the currents of being nurture Soma. Somavati is the ritual day held in esteem by Tantrics to give strength and honour to the softness and simplicity that Soma is. 

is cultivated
in simplifying our lives.

Somanath (friend of Soma) is one of the names which Shiva goes by in his liquid lunar mode. His is the cool, soft and simple one. The overemphasis of Agni not only consumes the finer currents of awareness but creates stress in the system and ages the body.

Soma on the other hand is the Elixir of life – you will find more about Soma in a previous text, The Forgotten Jewel of Tantra, which goes in more details about the qualities of Soma.

Passivity and the receptive quality might have disappeared from our lives. It may even be considered a sign of weakness to be avoided at all costs, allowing the solar action to dominate. 

Somavati comes rarely,
and comes to remind us
of the rare jewel of Soma.

Passivity is a secret Moon-type state of consciousness that the Yogis venture to know in the midst of the fires and actions of life. The Yogis prize Soma and are cautious and careful to nurture, cultivate and preserve it. Soma is psychic power. Soma is the cool healing fire that melts the obstructions in the way of our Shakti life energy.

The cool fire of Soma is not as obvious as the active expression of Agni. Soma lives internally and signifies and is experienced as a magical inner life… perhaps even independent of external factors.

This independence is the quality of Nirambala. Nirambala is a name of Shiva that implies the independent self-nourishing and self-supporting one, inspired and vitalised by the Soma Moon Fluid.

The introverted fire of Soma
is an internal glow that gives one
strength of focus & ‘awake-ness’
upon the astral planes.

Soma opens the physical and astral body. Bending back and melting the psychic and physical spine pours Soma into the chakras. The falling softly into death and surrender is Soma.

The Ritual of Somavati

In this ritual we will work with darkness & silvery lunar light. Taking a journey through Blood, Sex & Death:

Blood is Kali Ma
Sex is Kamakya
Kala is Death

These are the three Tantric forces that sit in the deep underworld within us. They are the forces at the root of our power, ‘or lack of it‘. This is a psychic and physical Tantra, Mudra, Mantra ritual, that is about addressing and healing the flow of the primal powers in us.

When the 3 fluids are in balance the Kundalini awakens.
Tantrics depict Kundalini Shakti as the Queen Snake.
Living beyond the boundaries of time and space.
Beyond our known conventions.
Where the hidden and out-of-sight

is given a welcome into the arms of Life and Death on Earth

Kundalini Shakti
requires the right ‘psychic temperature’ to unfold.
Somavati is a time when celestial forces
can assist us in the balance
of the Soma fluid.

Somavati is a night when the veil between the spirit world and the physical world is thin. It is for this reason, a ritual time to give homage to the deceased ancestors. To bless and heal the spirits that we are connected with. 

We can resolve and release the earth bound elements that can effect us in the Astral-World through inner prayers of blessing and release. Sometimes we are not even conscious of what we need to forgive and release. Somavati is a time of discovering and healing the psychic ties that bind us.

Tantrics call the effect of unresolved ancestral issues the Pitru Dosha. Somavati is a sacred ritual time of liberating Pitru Dosha.

The Ritual Positions of the Moon

Moon positions and invocations are known as  Chandra Parampara in Tantra. On Somavati the Yogins practice this subtle and powerful form of Tantric Moon invocation. The practices we will do on this ritual night are powerful in arousing unresolved shadow themes pertaining to the archetypal Goddesses and Gods of the Night-forces. The new Moon sequence of Chandra Parampara supports us in ritual of the Somavatri Moon junction, to soften to the lunar currents being beamed to earth.

Chandra Parampara
is a sequence of practice that,
among all the practices of Tantra,
creates the greatest softening
& flexibility in the organism,
both psychically & physically.

The introverted fire of Soma is cultivated in Chandra Parampara Moon practices. The Moon fluid is an internal glow that gives one strength of focus and ‘awake-ness’ upon the astral levels. Prayer and ritual under the Soma Moon is a time of opening body and soul towards the deepest levels of softness.

Simplification is the way to Soma. Soma is the way of bringing softness to rigidities. The 3 liquids of Blood, Sex and Death make up Soma. When they are balanced then Soma flows. An excess or depletion of any one of these energies blocks the flow of Soma. We could say that Somavati is the time of balancing.

Wine, Milk and Water shall lay upon the altar on this a Dark Moon night. By the Moon Practices of Chandra Parampara, we will delve deep into these fluids into the realm of Blood, Sex and Death


The Tabooed Forces

Wine, Milk and Water
shall lay upon the altar
on this Dark Moon night.

These are the archetypal forces that we all face. They can indeed be infused with patterns and Shadows that spin us into webs of suffering. But in this ritual, like a ruthless spider we will traverse the web of Blood, Sex and Death.

‘Dark’ areas of life
can become places where
things are feared & denied.

Tantric ritual concentrates our powers and brings us to face ourselves, and our essential patterns and blocks that are getting in the way of the freedom of the life force. The Tantric vision experientially shows us that, that which we deny, has power over us, and reduces our potential in Life, Love and Death. All forms of relation to ourselves and to others form the biggest playground where the forces of Blood, Sex and Death are made most apparent.

Participants of this ritual are asked to bring 3 glasses to the altar. One filled with wine or any form of alcohol, one filled with milk, plant milk may be used but it ought to be cream coloured, no milkshakes. And finally a glass of water.

In that order from left to right.

We will work Tantricly in a manner with these fluids that can potentially be life changing. This is a powerful yet simple contemplative ritual of a rather secret Tantric practice with far reaching effects. Once you’ve learned the formula of these 3 fluids then you can work with them in your everyday and everynight life. Follow up notes and practices will be sent the next day in written form to clarify the points of this practice.

Wine represents the blood of Kali, Goddess of the consuming force of life.
Milk is the juice of Kamakhya, Goddess of Desire
Water represents Kaal Bhairav who is the river of time that sails us unto death

Each of the themes of Blood, Sex and Death can be summarized as below.

Kali – the giving of ourselves and the reception that is reflected back.
Kamakya – the yearning to see beyond and further
Kaala – the parts that restrict and don’t fit expectations and plans.

It is with these sacred forces of blood, sex and death that we shall work on Monday’s Dark Moon healing ritual. Studying our relationship to Blood, Sex and Death. Life, Desire and Surrender. 

Kechari Mudra

Soma is Kechari Vidya. (Wisdom of Walking in space). The practice of Kechari Mudra has several preparatory steps. It is often first initiated and practiced under the blessings of the Soma Moon.

is a secret science of Mudra 
that activates points of energy 
in the system 
that releases Soma 
in the form of a hormonal substance 
that creates profound 
softness & healing trance.

Kechari Mudra can be translated as the mystical woman who walks in space. This Mudra works with the tongue and has far reaching energetic effects upon both the physical and energy bodies. The ritual of Somavati works with Ketchari Mudra and the 3 sacred fluids that make up Soma.

The Granthis

Congealed blood, curdled milk and ice cubes.

A balance
of cooling and heating forces (fires)
is required to open the subtle energies
and undo the Granthi’s (knots)
that seal the subtle portals of awareness.

An abundance of Agni fire in our psycho/physical mechanism is the ill of modern times. By becoming aware and awake on the astral layers of our inner life, we are able to undo knots of Karma and its unconscious shadows in the Granthis.

Granthi’s are the psychic and physical energy knots that the Yogis open by the science of a Tantra. The Granthis hold our Karmic themes and are tightened by Agni but loosened by Soma. That is why Soma is known as the soft fluid.

Cultivating Soma creates liquid softness, in both the body and the psyche. Over-stretching Agni creates heat and dryness. It goes without saying, that an overemphasis on heating practices of yoga consumes Soma. The yoga practices for a woman are radically different than those for a man, as the constitutions are different energetically. The man has a different relationship to Agni and Soma than the relationship a woman has to these two fires. The old Tantra practices address this subject profoundly.

In present times Agni burns strong & stands in a predominant place. This is most visible in the magnitude of destruction on a planetary scale, through wars, violence towards all forms of life, and even in the warming of the atmosphere. There is literally too much heat ‘in the system’

This calls for the cultivation of Soma, which must become a priority both individually and collectively if we wish to shift the balance back to a state of nature.

This Somavati Amvasya will fall under the Revati Nakshatra, the star constellation of Revati, the great nourisher. To read about Revati, click here.


If you would like to join the ritual



April 3, 2021

Jupiter in Aquarious
The Grand Shift of the Unconscious

Moonlight, starlight
Insight, out of sight
Something’s certain
Draw the curtains, draw them!

Echo and the Bunnymen – Satellite

Brhaspati (Jupiter) transits into Kumbh (Aquarius) on tonight’s darkening Bhairav Astami (Half Descending Moon). Jupiter will leave its debilitation point in Capricorn as it moves through its 12 year cycle across the zodiac. Jupiter is on its way to moving into Aquarius where it is said to be exulted. This represents a major shift.

Jupiter takes 12 years to complete a cycle through the zodiac. If you think back to the last time that Jupiter transitioned into Aquarius 12 years ago and what was happening within you in that year of your life, then you might get a sense of this energy constellation.

Jupiter in Aquarius
brings great outburst
and pouring forth
of emotion
from the human vessel
that we are.

The unconscious part of the mind is what erupts from the vessel carried by Aquarius when Jupiter enters. Jupiter is the grand expansive mind. It is to be remembered that he is the Guru of the celestial Deva’s. He is known as Brhaspati, or simply Guru.
This astrological movement of Brhaspati into the pot – Kumbh means pot and is Aquarius – brings a radical energy that brings destruction by the eruption of emotional force.

Energies that have been brewing unconsciously leave the inner mirror and start to reflect outwards when Jupiter transitions into Aquarius. If we follow the map of the stars and look back on the book of history then we will see the destructive explosions of emotional force in action when Jupiter enters Aquarius. The beginning of World-War-2 synchronised with Jupiter transiting into Aquarius.

Festival of the Pot

The Kumbh Meela is the biggest gathering on Earth and it occurs every 12 years, precisely when Jupiter enters Aquarius. This is a very big astrological affair for Tantrics. Endless numbers of Yogins and devotees gather at the time when these planetary forces are at their peak and immerse themselves in the river Ganga. The water acts as a medium of the astral energies and transmits them to the human system.

This planetary transition turns water to Amrit (Elixir). The old story tells that the drops of Amrit that fell upon the Earth became the sacred rivers when Brhaspati (Jupiter) moved into Kumbh (Aquarius) at the Dawn of Creation.

Keeping vessels of water on the window to become imbued with the energy of this planetary shift turns the water into a potent Elixir that can assist in healing many psychical and psychic conditions. If you have a river accessible then taking a dip or a splash can help too.

The roots
and origins of our conditions
become revealed at this time.

Working with water is an essential part of Tantric ritual when Brhaspati moves into Kumbh. Unconscious forces are made conscious by drinking and washing with water imbued with this planetary energy of Jupiter entering Aquarius. Kumbh Meela is going on presently, Kumbh, as said before, means pot. Meela means festival.

Kumbh Meela celebrates the Shift of Jupiter into Aquarius. This is a deep subject that is merely etched here. Essentially it has to do with exposing and studying the dividing curtain in the mind between the seen and the unseen, between dark and light, between unconscious and conscious. This curtain is known as the Rudra Granthi – ‘the knot of Shiva’ – that when untied… opens the third eye of vision.

Kumbh Meela
in this astrological junction
is a 12-yearly time of opportunity
to open the third eye.

The Amrit (Elixir) that flows from the third eye is strongest in this transition that occurs only every 12 years. The Amrit is synonymous with the sacred Soma fluid that is a psycho-physical compound that awakens subtle vision. When both the physical and psychic fires are balanced in the system then Soma awakens.

The yogin is ever watchful of the supplies of Soma within themselves. Tantric practices certainly awaken Soma, but there are many actions that deplete it. Rushing is the great sickness to the Yogins that creates an over-abundance of Agni (fire) that consumes Soma.

Life may offer
many opportunities to rush,
but when we do so,
we don’t live.

To say it plainly: Soma is spiritual power and the absence of Soma is the opposite of spiritual power. The time we are in now auspicious for slowing down and working with Soma. The flowers are erupting into colour, seemingly overnight, but it is to be remembered that they have been on a slow underground journey before being revealed.

We can work with Soma by collecting it in a pot. Water that has been left outside in a pot becomes infused with power at this once in a 12 yearly point. Rubbing it onto the third eye is a secret Tantric rite that will speak for itself, if done at this time.

India has celebrated this 12 yearly shift of Jupiter into Aquarius since the beginning of days. India is the Home of Tantric science; but what is Tantric science really?
Nowadays the word Tantra is carelessly thrown around in the West. Tantra has been made cheap by the modern machine in the eye of the western mind that exploits the sacred art with no honour of its depth.

Tantra is the making of the unconscious conscious. Tantra is Jupiter moving into Aquarius.
The unconscious can explode and express into consciousness in a way that possesses and wrecks sobriety. But the unconscious can also express itself in deepest sobriety and vision. It is a question of ‘to see or not to see the mirror’. The Tantric is ever watchful of the two expressions of unconscious force – both the ‘reflected and unreflected’. Soma is the fluid of Vision, guard it well, say the Yogins!

Bhairav Astami

This planetary movement is a revealer of subjective unconscious forces of the mass unconscious. When we become aware of our own unconscious impulses then we step out of the tides of time and space. To the Tantrics, Kaal Bhairav is the great benefactor who reveals the unconscious constructs of Time & Space.

Bhairav Astami is the monthly lunar half descent, that this time will usher Jupiter into Aquarius. Bhairav is evoked ritualistically on the Astami 8th lunar descent. He gives a glimpse of the unconscious world within at the exact point when the moon is split in half.

Tantrics say ‘Bhairav Astami Puja Karoo’ at this time. It means ‘remember to look into the mirror when the moon is perfectly split’, on that day hidden things are seen that no other moon day can show.

Truth Be Told

“Satellite’s gone up to the skies
Things like that drive me out of my mind
I watched it for a little while
I like to watch things on TV”

L. Reed – Satellite of Love

Jupiter moving into Aquarius is the time of ‘truth be told’. It is worth pondering on the nature of truth. How many of our truths are subjective? How many of our truths can only stand up in the motion of a structure that we take for truth? What is that structure really founded on?
Whether that structure is cultural, ancestral or capitalistic, etc., if we study the nature and reality or unreality of the structure, it can reveal deep truths to the eye of the soul.

Absolute truth is a heavy subject matter, but nature is heavy and she herself reveals absolute truth. The uniforms and costumes we wear may fade with the seasons, but nature endures. The Tantric is s/he who strips themselves naked in the wilderness and feels the natural winds of absolute truth.

The Tantric might literally retreat to the forest and that is indeed a part of Tantric Sadhana (training) but the two truths of subjective and objective will follow us even into the cave.
When the subjective structures of illusory truth crumble under their own weight, then we are truly in the wilderness, even when we are riding in the neon contraptions of modernity.

Kali Ma is nature unveiled.

Kali Ma is there, everywhere, when we remember her. She is an easy-to-forget old witch because her glare hurts. She is in fact the oldest witch. Her glare burns the subjective truths that we hold. Our subjective truths may indeed be absolute illusions.
Is it easier sometimes to look away?

Hara Ring,

Boonath & Kim

Bhairav Astami

Sunday 04 April

20:oo-23:oo CET | ZOOM

Purva Ashada Nakshatra

April 1, 2021

Watery Star of Hopeful Urge

“By the Power of the unstoppable urge
Now you can drink it or you can nurse it,
It don’t matter how you worship
As long as you’re
Down on your knees.
So I knelt there at the delta,
At the alpha and the omega,
At the cradle of the river and the seas.
And like a blessing come from heaven
For something like a second
I was healed and my heart
Was at ease.”

L. Cohen – Light as a Breeze

Purva Ashada Nakshatra is in the constellation of Sagittarius and brings clearing, cleansing purification. The deity of this Nakshatra is Apa, she is the cosmological river Goddess of fresh water and the lover of Varuna the god of the seas.

Losing one’s individuality and merging into the greater sea of being, is the energy that this Star brings to us. This is a Shukracharia (Venus) ruled Nakshatra and rules conception. The river wishing to rush to meet the ocean is relatable to the urge of the sperm moving to meet the ovum.

“Purva Ashada Nakshatra
brings fluidic transitions
just as the inherent symbolism
of the river Delta…
where one water body
loses its identity for another.”

Transition from individual states of being to awareness of more expansive states of being comes from a losing of established identities. By purification of the subconscious sediment that we carry, we rush into the vaster ocean of reality. It is interesting to note that a river delta is also a place where underwater sediment in most pronounced.

Our subconscious sediment colours and expresses itself in the rivers of our being. Transition to new states of being come as things are resolved and purified from the underground. This is the lesson that Purva Ashada Nakshatra brings to us – That we have to leave some things behind if we are to come into more fluid states of being. Figuratively speaking – surface skiing upon the water does nothing to really resolve ones Karmic themes, though it certainly gives the feeling of moving.

On the path of a Tantra, the Yogin is careful to not exchange superficial surface maneuvers for the introspective healing work of facing the deep dark depths.

Bhairav Astami

The science of lunar houses is very detailed and subtle because it is dependent upon which Moon phase transports the energy to earth. Uttara Ashada Nakshatra occurring upon

“The Bhairav Astami
of half descending Moon
brings a movement
of unconscious sediment
and offers a transition
out of individual unconscious patterns
into a new sea of being.”

Bhairav is the deity who makes us face that which we fear, that which we turn away from and do not wish to face becomes our unconscious shadow that lives in the depths, and just like the undercurrent, it informs all the maneuvers of our consciousness.

Bhairav Astami has been ritualized by Yogins since time immemorial as a Moon day for accessing the unseen and unconscious shadow elements of our reality.

The occurrence upon Bhairav Astami of Purva Ashada Nakshatra is a time of working ritualistically with water. There are many inner and outer practices in Tantra that work with the healing powers of water.

The Gurus of Creation

Purva Ashada is under the rule of the 2 Gurus. Venus is Shukracharia, the Guru of the Asuras, and Brhaspati (Jupiter) is the Guru of the Devas. The Asuras are the dualised creative energies of the egg that splits upon fertilisation. The spermatozoa is the Devic singular force. We see that Purva Ashada is ruled by the Venusian Guru Shukracharia and is in the constellation of Sagittarius.

The stories tell that Shukracharia has in his possession a magical power that puts him in the possession of abilities that make him superior. It is the power of Sanjeevani Vidya that he possesses. This is the wisdom and power of bringing the dead to life. Shukracharia it is who brings life to the soul in an eternal circle of life and death.

“The seed holds the spirit,
but the egg is the doorway
of Sanjeevani
that permits incarnation.”

Purva Ashada Nakshatra is an auspicious time for the conception of a child, as power is given to the ovum and the spermatozoa. This Nakshatra brings the energies of Venus and Jupiter together, these planets are dualistic forces that if brought together result in creation.  

Mythology & the Watery World

When Venus and Water Meet we get the mermaid, hence the star of Purva Ashada being connected to the Yakshinis, who are the elemental spirits connected to the water element in the unconscious. The Yakshinis stir in their depths when this Nakshatra is present.

The Yakshinis are the sexual elemental spirits of the second water ruled Shakti Chakra.

“Some aspects of Tantra
work with summoning & evoking
these sexual beings.”

The picture above is called Hylas and the Nymphs by the British painter John William Waterhouse. The Naiads are the water nymphs of Greek mythology. This story presents many poignant themes of Purva Ashada Nakshatra. The story tells how Hylas was on a search for fresh drinking water when came to an enchanting pond where the Naidas lured him in with their beauty.

The Naidas are similar to the Yakshinis of the unconscious watery worlds. They are energies that can lure us in by the promise of something wonderful.

The Yakshinis in the Indian mysteries offer treasure, pleasures and powers untold by those who find them, but like the story of Hylas, they can submerge us in an elemental world and keep us from fulfilling our karmic tasks. Hylas was looking for fresh water for the team of Argonauts but he never returned. We see him holding a jug of water in his left hand, the pond abounds with water lillies which interestingly are called Nymphaeaceae in Latin.

The tree of Purva Ashada Nakshatra is called the Sita Askhoka tree. The stories tell us that the Ashoka forest was where Sita was kept captive by Ravan when he kidnapped her. The Expansive urge of Ravan was enticed by the Venusian caverns of Sita. Sita literally means a cavernous incline and is suggestive of the female Yoni. The Venusian ovum draws the expanse Jupitarian force, Ravan was so overcome that he stole her away. This is the theme of the Epic Ramayana.

The Ashoka is the tree that is sacred to the sensual water nymphs known as the Yakshinis. The Yakshins dwell in the deep unconscious levels of the inner world. Tantrics who make the unconscious conscious are able to see into the world of the Yakshins. Some Tantric magicians work primarily through Siddhis (powers) they gain from these elemental beings. Tantrics consider it a dangerous practice to enter into union with the elemental world for magical powers. It carries many dangers and karmic consequences for the soul.

We see in many fairy stories that humans become submerged in the fairy realm to their detriment. The story of the Fisherman and his Soul by Oscar Wilde hi-lights this allure of the elemental world wonderfully. The occult novel of the Sea priestess by Dion Fortune also covers the theme of elemental possession. The well known story of the Little Mermaid by Hans Christian Anderson reverses the polarities and tells of a Mermaid who comes to the human world as opposed to the other way round.

Shooting Off

This Star brings a strong sense of Tapasya – this is quality of ruthlessness and fearless voyage towards the unseen. A yogin is for this reason called a Tapasyin. The word Asha in Ashada means hope and urge. This watery lunar house brings a battle like rush of water. It is activates the urge of the spermatozoa to merge with the ovum.

“The Ovum is Shukracharia (Venus)
and the Spermatozoa is Brhaspati (Jupiter).”

The urge to rush into the realms of life can become dispersing to our Shakti if we are focused on barren pursuits. Whether physically or psychically… we become aware of the nourishing or vampiric quality of our pursuits as the unconscious becomes conscious. When we gain insight into the motivation behind our urges, we come to see the mechanism of how they express into the fabric of our lives and the resultant effect thereof upon the Shakti we carry.

Brhaspati (Jupiter) is the biggest planet in our solar system. He abounds with an abundance of boundless energy. Purva Ashada is a time to study the focus of our urges. As this star is in the Brhaspati (Jupiter) ruled constellation of Sagittarius, the tendency to shoot out is pronounced. Under this star in concentrated ritual – Tantrics make a pronounced focus upon reversing the outward tendency of motion known as Privritti to the inward energy known as Nirvritti.

Brhaspati (Jupiter) is the ruler of Sagittarius. Brhaspati is the expansive energy of subtle wisdom, that is why he is the Guru of the Deva’s. The energy of Brhaspati is to expand and subtlety penetrate things. But the state of the fields of life that we are penetrating is to be taken into account, they will produce either barren or fruitful produce. The Tantric honours Shakti by discerning whether they are watering the field of death, or the field of life.

“The merging of the river
with the sea symbolism of this Nakshatra
is very much about the unconscious
becoming conscious.”

Remember the deity of this star is Apa, the goddess of the river. In the symbolism, she merges with the lover Varuna the god of the ocean through the releasing of parts of her identity that are born of unconscious imprints.

On the upcoming Astami we will meet in ritual to work with these forces as part of our second gathering dedicated to Kaal Bhairav. All levels of Yogic ability and experience are welcomed into the Healing Circle on this ritual night. An introduction for new students, where questions and queries can be addressed is also offered.

Hara Ring,

Boonath & Kim

To join our Astami ritual


Rohini Nakshatra

March 18, 2021

20 March 2021

Heaven opens inward, chasms yawn,
Vast images in glimmering dawn,
Half shown, are broken and withdrawn…
Moreover, something is or seems
That touches me with mystic gleams,
Like glimpses of forgotten dreams.
Of something felt, like something here;
Of something done, I know not where;
Such as no language may declare…
So heavenly-toned, that in that hour
From out my sullen heart a power
Broke, like the rainbow from the shower,
To feel, although no tongue can prove,
That every cloud, that spreads above
And veileth love, itself is love…

 Tennyson  – The Two Voices

The Nakshatra (Lunar house) at this ascending half Moon of Equinox is Rohini. She is referred to by Tantrics as the Red Woman Star. She rules fertility and the growing artistry of creative life. This deity of this star is the creator who is known as a Prajapati Brahma. This is in fact the most creative and procreative star of the zodiac.

Rohini Nakshatra brings fertility and creativity into all the areas of our organism. Physical as well as psychic fertility is transferred to us when working with Rohini. The Red Star Woman brings power and healing to both the mind and the womb. Rohini reflects the light of the rising Moon and shines it to us on earth with a creative blessing as we move into the longer days after the Equinoxital balance is traversed. Honour given to Rohini is like putting the spiritual focus and power towards the fruit and harvest of our lives.

Rohana Shakti is the root meaning in Rohini, and Rohana signifies ‘the power of growth and fertility‘. She is the astral star force that houses the creative energy of Brahma and projects the astral force to the earth in manifesting fruit.

Beauty in the Eyes

Rohini transmits a hypnotic beauty to us. When the Rohini force is received, we become alluring and magnetic. It is said that Rohini gives captivating beauty to the eyes. The animal of Rohini is the snake which is known for its mystical penetrating gaze. 

is the magical power
to entice through the magnetism
of the eyes.

Rohini brings the most captivating beauty to the eyes. We see that the star of Rohin is Aldebaran, which is in fact the eye of the Bull – the brightest star in the Taurus star constellation. Kajal is traditionally a herbal remedy that is applied to the eyes to ward off the evil eye. As we shall see in the next section, Rohini raises the energies of envy and jealousy. Kajal is put on the eyes as a type of eyeliner on infants in India as a protective and beautifying measure. It draws the powers of the beauty of Rohini into the eyes of the wearer while acting as a medicinal herbal tonic to the eyesight.

Healing Jealousy 

Stories tell of Rohini being the Moon’s favorite amongst the 27 lunar houses. Rohini’s sisters are the 26 other Nakshatras that were jealous that the Moon preferred the red sister over them all. The Moon is in its fullest power when the beloved Rohini is closest. The Moon and Rohini mysteriously enter into union for the longest time of all the lunar houses. As the Moon’s favourite, Rohini receives the lunar rays and transmits them to those that acknowledge her on earth. She is the ultra feminine woman who transmits the powers of healing all aspects of fragmented femininity.

The story of Rohini tells of Jealousy. Jealousy is a powerful karmic theme that Rohini can bring to the surface.

Work with Rohini
is an antidote
to healing the poison
of jealousy. 

Jealousy is a potent force that poisons the womb. Jealousy can of course be blatant, but it can also be invisible, in the form of an inapparent hidden emotion – it can live in the deep unconscious recesses of the mind and express itself in many ways. The struggle for power, beauty and influence can come from deep unresolved jealousy that has been suppressed.

The influence of Rohini Nakshatra on the half rising Moon is a time when unresolved jealousy is brought to the surface. This can afford us a chance of deep healing of mind, heart and womb. Love, beauty and endless femininity is brought to us by Rohini when we resolve the Tamasic (dead) energies within the unconscious recesses of the mind.

Love and beauty can’t simply replace the dead, the dead must first be put to rest before Love can come into play. Therefore Rohini offers us a chance to work on the rotting karmas that might be spoiling the ripe fruit of being.

The story tells how the sisters were so jealous that they complained to their father to do something about the injustice of the Moon who was showing favoritism to the bright Red Star Sister. When the father heard of this he cursed the Moon to wither away.

The dying Moon was saved by Shiva who counteracted the curse and caused the Moon to grow… but forever after the Moon had to go through the phases between waning and waxing. Shiva ever after carried the Moon in his crown as a sign of his loyalty to his lunar devotee. For this he is called Chandrashekhara (Moon crowned).

Whenever one becomes
like the moon,
they are crowned upon the head
of the infinite wisdom of Yog.

Mantras of Rohini

The Bija (seed mantras) of Rohini are sounds that relate to the womb energies of fertility, along with the rhythmical Lunar movements of the mind and the Venusian sexual chakra. These mantras are practiced in Tantric ritual When Rohini visits the Moon. Some of them are:

& Vhuuu.

When intoned with a specific shape of the lips, these mantras activate the Nadis (energy lines) of the Moon ruled movements of the astral mind and the womb and Shakti chakra. The womb is the source of fertility and birth, the dark creative cave where Rohini shines brightest – for she is creativity itself.

Rohini is also a word for the maiden at her first ever menstruation. Working with the star of Rohini helps in balancing issues of fertility, sexuality, menstruation and menopause. Rohini addresses the hormonal rhythms and sexual function in both male and female on both physical and psychic levels – it is to be remembered that Rohini is the Moon’s favorite lover.  She brings stability to the sensitive astral self, as she balances the Lunar forces that intersect with the mind.

Bull Power

Rohini Nakshatra is found in Vrishabh (Taurus). Rohini is the star Aldebaran, a star of great red radiance and the brightest star of Vrishabh… the eye of the Venusian Taurus which is the Shukracharia (Venus) ruled zodiacal constellation of the Bull. The Ox pulled cart is a symbol of Rohini that alludes to this detail. 

The Bull is a virile potent force of tempestuous nature, very much the active expression of Rohini – it can run amok in our lives or it can be channeled as in the case of the agricultural Ox. Rohini is not a castrator but a boundless force of growth that can be put towards ploughing the field of our lives and reaping harvest. We find that Kamadhenu – the great wish fulfilling cow who represents the feminine aspect of Taurean force – is also another name for Rohini Nakshatra.

Between the Moon & Sun

If we consider the previous Nakshatra to Rohni we find Krittika (Pleiades) and see that it’s ruling deity is Agni, who is the god of heat and Fire. Rohini is then followed by Mrigashirsha Nakshatra (Orion) which is ruled by Soma, who is the fluidic cooling Moon god. We see that Rohini is ruled by the deity of creation Prajapati Brahma.

Rohini is quite literally balanced between the energies of heating Agni and cooling Soma. The implicit wisdom inherent here is that Rohini brings creativity through the balance of Moon and Sun. Hatha Yog is often interpreted as the union of the Moon and the Sun, or the union of Hot and Cold, Woman and Man, Earth and Sky. Ha refers to the heating solar force while Tha refers to the cooling lunar force. Rohini is the creative energy what weaves them together and is born of their union. Practices of Hatha Yog open creativity in all dimensions of our being.

Stars in Herbal Medicine 

Brahmi is an Indian herb, but it the word Brahmi is also another name for Rohini Nakshatra. Brahma the creator is the deity of this Nakshatra and has as his Shakti (feminine power) Brahmi… hence this being another name for this Nakshatra. Rohini it is, above all else, the star of creativity.

The Indian herb Brahmi
is taken to improve memory
while at the same time
acting as an aphrodisiac.

This synchronicity reflects the Moon and Venus involvement of this Nakshatra. The Moon’s most beloved Nakshatra is Rohini. The Moons memory is intense in remembrance of her, and the love for her,  even more so. The Moon rules the movements of the Mind, whereas Venusian energy manifests in love and sexuality.  Brahmi is a good herb for balancing Rohini afflictions in the support of healing the feminine. 

If you would like to join our Equinox Ritual and work with the Fertile currents of this Rohini Moon,



March 8, 2021

The Rhythm of Wealth & Fortune
in the Stars

Shiva is the one who lives
in the heart of all beings. 
On the night of Shivaratri he unifies with Shakti.
Tantric practitioner gives honour
to the the innermost Yogin
of enlivened Kundalini
upon this night of great union.

– Boonath

The great night of Shiva is upon us. Maha Shivaratri literally means ‘the great night of Shiva’. Shiva is the first and last and always Yogi. Adinath is his name that means ‘the endless origin of Yog’.

Upon this night,
Shiva unifies with Shakti
and brings the feminine & masculine forces
into equilibrium.

The annual night of Shiva presents the soul upon earth with a vortex of energies that open the Chakras to the magical and healing force of Kundalini Shakti. The Nakshatra (lunar constellation) upon the night of Shivaratri is Dhanishta. Dhan means ‘wealth, abundance’, Nishta implies rhythmic and constant flow.

This is the star of continuous, musical flow of wealth. It is indeed a star of music and has as its symbols, musical instruments. Dhanishta Nakshatra is a Mangala (Mars) ruled Nakshatra and potently brings us the lessons of wealth and fortune through the secret of rhythmic flow.

It is ruled by the Vasus, the 8  elemental deities who manifest material abundance and the ability in the arts involving tangible earthly rhythm – such as music or dance. It is a royal Nakshatra that brings abundance and fortune from the inner levels of being into manifestation.

The animals of this Nakshatra are the lion and the peacock, the lion is famously called the Jungle ruler. The peacock is a bird that is wealthy in its feathers of beauty, it can’t be denied.


Catching the Secret of Wealth 

The symbol of Dhanishta Nakshatra is the drum of Shiva and the flute. This is a Nakshatra that is heavily concerned with musicality and rhythm. The Dhumaru is the drum of Shiva and is the ever changing rhythmical heartbeat of creation.

The secret of wealth
on all levels of being
is rhythm.

To know one’s own particular rhythm is to know how to apply ones life forces to the best function. When we don’t acknowledge our own particular rhythm then we deplete ourselves, and so, the secret of Dhanishta is to learn to honour one’s own rhythm. When we honour our own rhythm then we are able to observe the rhythms around us and learn about the keys to wealth and musical living.

Dhanishta brings divine music to us, but obviously we have to set up a receptive rhythm to catch it. Where Shravan Nakshatra gives us listening and hearing, the following Nakshatra – Dhanishta… gives us something grand to listen to.

If we are out of tune with our own rhythm then our view of all rhythms is warped – and so the lesson that Dhanishta brings to us is to learn to pay attention to our own rhythm – so that it may become a receptive instrument to the sounds of infinity.

This is challenging because our personal rhythm is not a fixed thing and is subject to fluctuations and change, so we may not even be able to rely on our ‘own rhythm’ as a thing that is constant. This ever changing nature of rhythm relates to Shiva profoundly.


Dancer of Celestial Rhythm 

The odyssey of our eternal dance of being is told through the stars in the story of Shiva and his union with Shakti. The dance of Shiva is the dance of destruction that is the secret dance of rhythm. Shiva destroys all past instances and this gives the power to face the ever changing rhythms of the drumbeat of life.

Nataraj is the name of Shiva as the celestial dancer. His dance is a dance that is so fluid and unfixed that it is ever ready and able to dance with the infinity of celestial tides in the infinite cosmology of being. Nataraj the celestial dancer is the grand overseer of this constellation. He is the lord of rhythm and dance, and is famously known for his dance of destruction. 

Shiva has the ability to match each and every move of Shakti like no other can. Shakti has an endless infinity of expressions and the power of Shiva can follow them all. The Stars of Dhanishta are clustered in the constellation Delphinus, this is the Dolphin constellation.

Dhanishta Nakshatra is a star of music and rhythm it is to be remembered. We can see that the dolphin is a creature of profound musicality. It is well known that the Dolphin communicates through incredibly subtle sound frequencies and rhythms.

Dhanishta has another name which is  Shravishtha – that which is devoted to Shravan. Shravan is the previous Nakshatra that rules subtle listening and hearing. This following Nakshatra of Dhanishta implies that one learns the art of being devoted to listening – devoted to Shravan

May we gain the ear to dance with the rhythm of nature, and learn to move with the subtlest frequencies of life.

If you would like to join our ritual on Shivaratri


Hara Ring


February 23, 2021

Power in Simplicity

Oh Lalita,
you stand outside the walls of time and space.
Indeed your secret is that you are the wall’s,
and you are time and space itself.
You are the one where time and space meet.
To you we bow.
The delicate power beyond compare.

Lalita is commonly known as Tripuri Sundari, Sundari means the beautiful woman. Tripuri means the one who is beautiful in the three worlds. Lalita is the feminine essence that receives and cools the fire of the sun. She is the cooling receptive lunar energy that balances the fire of Agni.
Her mantras are cooling and are the opposite of her sister Bhairavi’s which are heating.

Lalita promises a receptive comforting place to the fires of our ambition, we may have to get a view of her face through the fires that surround us if we are to get her Darshan (vision). And this exactly is her lesson, to cool down into the very simple and innocent sweetness, perhaps forgotten and secret.

Her mantras and mudras are cooling and softening, so much so, as to melt into the magical corners of our being. The face of Lalita can not be seen through the fires that surround us. Our ambitions, ‘urgencies’ and active impulses are made to rest if we are to see where Lalita is.

Hers is the rising sun
that has been cooled by the night forces.
Her seat is upon a lotus flower
that grows out of the Nabi chakra (navel)
of Shiva.

The forces of fire are implied by this lotus emanating from the fire Chakra and Lalita is the Cooling Moonfire of Tejas that sits atop the hot fire of Agni. Lalita’s beauty is the Soma that results when Agni and Tejas unite. Poems and scriptural verses describe her as having a milky complexion, along with full breasts and a smile that can break the trance of Shiva’s concentrated meditation. She is the ultimate alluring beauty and lunar promise.

Triple meanings

Tripuri Lalita, as she is called, means the one who is beautifully delicate and soft in the three worlds. She is the beauty on the third element hidden between extremes of opposites. Lalita has a twilight gaze!

When Night and day unite, they create the mystical magic of twilight. When Rajas and Bindu unite. That is, the red blood and egg of the woman and the white seed man, then they create Soma which is life – this Tantric law of circuitry holds true in all levels of divided opposites in all the worlds.
Tripuri Lalita then, is the Beauty of these three worlds of Rajas, Bindu and Soma.

For this, she is known as Raj Rani or Rajeshwari, which means, Queen of Kings and Kingdoms.
She represents Mata the subject.
She represents Mana, the instrument.
She represents Maya, the object.
These 3 M’s represent the secret of all yogic investigations.

Lalita means the delicate soft one and she embodies the power of softness. We might very easily associate power as something active and expressive, but Lalita is the reverse and is the very peak of receptive power. The beauty that the poems and scriptures ascribe to her, receives the mightiest of the mighty revelations in the tale that follows.

Stories of Lalita

The legend tells that it was Lalita who subdued the Asura named Bhanda. It is a deeply interesting story that tells of polarities. Bhanda was born of Shivas rage when Kama the god of desire tried to lure him out of his Samhadi (deep spiritual trance). The gaze of Shiva burned Kama to ashes in an instant. But one of Shivas attendants tried to revivify desire by mixing the ashes of the burned up god of desire with the last remaining semen that could be found in the 3 worlds. It had been expelled exactly the moment that Kama thad been turned to ash, causing all desire in the 3 worlds to go dry and flaccid. With the paste, the Gana (spirit attendant of Shiva) began creating Kama again.

The last ejaculation before passion died represents an inner yogic pursuit on the many layers of ones being. It was ejaculated at the exact moment Chandra and Rohini were losing sight of each other. When the Moon starts to move out of the star of his beloveds constellation – the Red star Rohini – then there is a tear cast by the Moon and that is the Moons last ejaculation.

This lunar event occurs periodically on Lalita Jayanti. Every yearly Lalita Jayanti, is connected to this constellational event through geometrical lines of celestial force. The upcoming Lalita Jayanti happens to be in the exact constellation where Chandra (Moon) and Rohini who are the greatest of all Lovers, lose each other’s gaze.

It is a ritual day
of studying the original wound
upon the softest place within.

As the paste carried the energy of Shivas raging glare and an ejaculation devoid of Love, the revivified Kama was most powerful but equally most destructive. The revivified Kama was renamed Bhanda, which means ‘stop’, this name was cried out as he raped and pillaged his way through the universe.

Bhanda replicated the moonlit celestial realms in a murky shadowy reflection. All the Gods and Goddesses were mirrored destructively in Bhanda’s version. The destructive counterparts of the Gods and Goddesses, waged deathly war upon those they resembled in the Moonlit celestial realms.

Bhanda asked the obliging Shiva for a powerful mantra. Shiva gives to those who asks, as he is Bola, full of tenderness and compassion for those who approach to the mountainous heights where he dwells, knowing as he does, how arduous the journey is, Shiva never refuses.

Bhanda got the mantra from Shiva which would make Bhanda immediately receive half the power of those who oppose him. These was no way he could be defeated, along with his own great power and being able to imbibe half that of the numerous enemies he was creating, Bhanda became invincible.

Lalita approached Bhanda and he laughed straight in her face. Soft and delicate as her name suggested, Bhanda roared with laughter from the belly, at the absurdity of such a delicate creature as Lalita coming to defeat him. He was somewhat captivated by her beauty and thought that he would have her the way he had had so many beauties. He realized this beauty of Lalita was something unusual and didn’t realise that what he was actually about to enter into was a painful demise.

Bhanda was wild in sexual rapture and wrestled for aeons with the goddess, never gaining admittance to her delicate moon temple. Every time the mighty Bhanda would apply his strength he would ejaculate. He ejaculated the many Asuric (evil) forces that are told of in the epics. For example, he ejaculated Ravana into being, and so the Goddess Lalita breathed out Hanuman and Raam – and the well-known defeat took place.

Bhanda was burning with desire but could not prevail with his fiery power upon his lunar adversary. His desire would not dwindle and he ejaculated a second time. This time he ejaculated the well known foe Hiranyakashipu, and once again the well known story took place as Lalita breathed out from parted lips his defeater – Prahlaad and Narashima.
A third ejaculation lead to the Buffalo headed Mahishasura being expelled from Bhanda, as the famous story of the end of Navaratri tells. Lalita breathed out the Godess Durga upon lionback and the Buffalo headed beast was defeated as in the well known story.

The fight went on for endless aeons and Lalita played with Bhanda’s desire. He grow frail as his power was ejaculated for ages gone past, each destructive force meeting its opposite. Never ceasing to give up the fight with the Goddess, until perhaps when the power to fight exhausted.

The last expulsion did not come, as Bhanda grew weak and impotent. He tried desperately to emit one more painful ejaculation, knowing that it would be the last. Lalita laughed at him sweetly and said his name, ‘Bhand’, which also means ‘the one who has stopped ejaculating. Her laughter causes her body to ripple erotically and Bhanda responded to the beauty before him by one last attempt to worship her.

Lalita played with him, allowing him closer but not close enough, as he ejaculated for the last time his power left him and the Great War was over. He watched the Goddess Lalita walk away as he expired.

Lalita is the woman
within every woman that is desired,
she is the one who calls forth
the milk of creation
with her captivating and desired gaze.

Lalita is known as the ultimate slayer of badass beasts. Her fingernails when clipped, are said to give birth to the cycles of time along the ages.
Creation, preservation and destruction are all under her charm.
The creator and the preserver grovel at her feet and lose their crowns.

Shiva was too proud and so Lalita stamped upon his belly and took her Moonlit seat upon the fiery lotus that erupted out of the Nabi chakra.
The power of her softness is so great that the creator, the maintainer, and the destroyer fall at her feet, or get stamped underfoot.

The World of the three Granthis

The trinity of creator, preserver and destroyer all fall at the feet of Lalita beauty. She opens the doors to the secrets of three worlds which cannot be got with active force, but by receptive lunar power.
The granthis are the closed doors in oneself that are made up of psycho physical knots of energy, they mask the potentials of the portals of the chakras to receive and give. A Granthi can exist as Surya Granthi which obscures the active force, and a Granthi can exist as Chandra Granthi, which obscures the receptive force.

The Gods
of the three worlds
worship Lalita.

Brahma is connected to the Brahma Granthi, which is the knot at the creative chakra that relates to the unconscious. Brahma is often called the creative force; he is the underworld root that creates the fruit. The underworld is known as Patala in Tantric law.

Vishnu is often described as the force of preservation and the lord of the earthly realm of Bhumi. The Vishnu Granthi is the knot at the area of the heart, that is loosened and opened by the Yogis.

Shiva is often called the destroyer, his Granthi is in the third eye, it destroys reality through the storage of information, belief and opinion.

Shri Vidya

The Shri Vidya is a symbolic system of wisdom that deserves mention when speaking of Lalita. The Shri Chakra is a yantra (representation) of the Goddess. Initiates of Shri Vidya would say that the diagram is the Goddess herself. It is a initiatic and secret practice of working with the geometrical Yantra and Mantra amongst other things.

The Shri Chakra is composed of 9 triangles. Most commonly shown with 5 pointing down and 4 pointing up. Depending on what way it is viewed, and in which position it is viewed, the Shiri Chakra has an impact on the energy body. It is a tool for moving energy when one knows of its uses.
It is not something that is written about, although the mantras and the diagram may be widely available these days.

Visualizing the Shri Chakra and finding upon the psychic and physical body, the points where the lines intersect, reveals a world of energies for example, relating the mantras to the geometry of the Shri Chakra is a very mathematical and geometric pursuit that brings rather and order to the different spiritual bodies. Some practitioners of Tantra work a lifetime with the Shri Vidya system and its far reaching branches. Branches that are said to grow beyond the three worlds.

In the commercial age of Tantric practices, many schools offer instructions and so called initiations into Shri Vidya. They may offer powerful practices and confess of ancient lineages.

In truth
the initiation into Shri Vidya
is only given after 9 months
of continuous contemplation of the diagram.
That means, without sleeping or moving.

This is the time it takes to create a life in the womb and all the Mahavidyas are traditionally approached with a 9 month Tapasya.
9 months of active work and then 3 months of inactivity to absorb what has been learned, a time of dilation to relax the strenuous effort of 9 months of sadhana is often undertaken in complete darkness.
So the sadhana of all the Mahavidyas requires 10 years, if one were to do them consecutively, of course they can be spread out over a lifetime.
Some of the sadhanas of the Mahavidyas seem more extreme than the others. some are done only at night. Some require pilgrimage, some require staying in one place.

Mantra and the Moon

Hrim, La, Ka, Sa,
Hrim, La, Ha, Ka, Sa, Ha,
Hrim, La, i, e, Ka

These are the commonly known Mantras of Lalita of the Shri Vidya. They can be uttered in such a way as to open the receptive currents and equally in another way to emphasize the active currents.
15 Bija sounds that relate to the both the 15 days of the descending and ascending Moon, depending on how they are said.
30 intonations = 15 x 2. Sometimes 15 syllables are spoken on the inbreath and relate to the ascending Moon phase. Sometimes 15 syllables are uttered on the outbreath of the waning half of the Lunar month. Sometimes the order is reversed. The effects are different and are studied by Tanntrics.
Some directions of energy nourish while others deplete. This law of force is what tantrics study and come to see.

This knowledge is helpful in relating Tantricly to the quality of each moon phase. Her mantra also changes intonation with the character of the Lunar month. This knowledge is kept by Tantrics and is applied in healing and ritual. It is the Law of Raag (rhythm) and following and aligning oneself with the ever changing Raags of nature.

So each Moon day in the lunar month, has a mantra that governs its particular and unique expression. And who is that expression , she is Lalita, her ever flexible secret is that she moves with the tides of nature, she is the woman in all, that learns to listen to nature’s every changing note. She has no fixed formula to adhere to at the expense of nature, she is the original witch woman who sees the magic of nature’s secrets.

The Tantric attempts to see magic.
When it unfolds within,
then it unfolds without,
and the third element
that is the un-folder,
is Lalita.

One of Lalita’s names is Sodasi, it means the Blooming 16 year old maiden. The extra number on the 15 is the magic number of Lalita. It is the 16th element of Raag, which means the one who moves with the rhythm of nature that is whispered by the Moon. Lalita is that one, that magic mysterious Moonlit one.

If you would like to know more about the Dasha Mahavidyas, check out out series.

If you would like to join the Lalita Jayanti Rituals,



February 12, 2021


“To unveil the great Goddess of Nature
is Yog.”

Tantric wisdom recognises that different creatures all have their own particular expression and power that it is possible for us to align with through invocation. The animal energies that we connect to spiritually can be a benefactory element to us upon our path when we make the connection to them.

To evoke the animal powers within us
is to return to nature.

Tantrics lay the greatest emphasis upon the return to the natural state. The natural human animal is one who is divorced from the disempowerment of surface structures upon the soil of life. Instead, the natural human animal is married to the depth of nature’s womb and it’s simple and definite laws.

The wisdom of nature opens up the spirit of the natural human. The Yogins call this spirit Pashupatinath: a form of shiva who is deeply in contact with all the elements and all the beasts that roam the Earth and the astral plane.

We all long to reach the state of natural spiritual being, we might sometimes go about getting there in less than optimal ways that can become self-defeating. We all long for the wisdom of nature to flow through us and wash the burdened edifices of un-nature. We all long to return to the garden, where rules, structures and impositions upon the spirit have no place.

The ancient yogis,
who left footprints in the Earth for us to follow,
were those who acknowleged,
yet disregarded,
that which was not in tune
with the rhythms of nature.

Rather, they evoked and invoked the spirit of nature as a way to protect themselves from the constricting artificial structures of ideology. The way of Yog could be said to be a kind of stripping away of all that which blocks the path of nature’s power from flowing.

Many of the conditions that we suffer from are not natural conditions of suffering, but are reactions to the Man-made structures that we live in – this includes both physical and psychic structures. Many of us may not be able to run wild and naked in our daily lives, but whilst living in the midst of the structures and edifices of life, we are able to open up a parallel line of natural being. That parallel line is the inquiry that Tantra concerns itself with.

The Yogins stand for unity – and that can also be taken to mean a unity between nature and non-nature.

Animals & Chakras

The Chakras are doorways
to our innermost world.
Each chakra has its own unique quality
that connects us
to the many constellations of our spirit.

Mantra (sounds) and Mudra (postures) are ways of accessing the Chakras and unfolding their potentials, whilst healing the structures and patterns that suffuse and inform the world through the chakras.

By viewing nature, and our nature, through the lenses of the Chakras, we can become aware of all manner of imprints and indoctrinations – for these are held within the Chakras themselves.

By working with the imprints in the Chakras
we resolve many karmic themes
and dissolve the illusions and dreams
we might be mistaking for Reality.
This is a place where
the animal energies in the chakras
become allies on our spiritual quest.

Perversion of the human spirit could be seen as a result of deviating too far from Mother Nature herself. Yog, in its raw form, does not ask us to develop ourselves spiritually, open the Chakras, or awaken Kundalini. Rather…

Yog understands that
in our natural state
we are already open and awakened.

Yog, in its original tantric understanding at least, provides a path aimed at leading back to our natural state of being. It is about allowing the force of Nature to simply flow without us putting up a fight or resistance. The potentialities of the Chakras await us beneath the programs and patterns that are imprinted on the face of nature.


The Friend of all Animals

Pashupatinath is a form of Shiva and literally translates as the friend of all animals. He is the friend of the Pashu’s, which means all creatures, both physical and astral.

Pashupatinath has 5 faces, 4 of which face in the cardinal directions, the fifth face gazes into the great beyond. Each of the 4 faces of Pashupatinath look deep into each of the physical elements of earth, water, air and fire. The 5th face gazes into the subtle element of Akash.

Collectively, the 5 elements are known as the Panchabooht. Panch means ‘five’ and Booht means ‘spirit’, and so Pashupatinath is the one who looks into and sees the secrets of the spirits of the elements.

In Tantric science the Panchabooht are known as Bhumi, Jaal, Vayu, Agni and Akash. They are the five elements that inform all levels of life on earth. Tantrics have timelessly honoured all creatures as links to the Panchabooht elements.

Each Animal is a creation
and carries a dominant Chakra energy
and the corresponding Element.

By honouring the animal spirits we can gain deeper insight perhaps into our human-ness or possibly into our lack of it. The elements of Panchabooht link us to the different Chakras and the vast array of creatures that live with-out and with-in us.

If you would like to join one of our rituals part of our Animals Series,



February 9, 2021

The Star of Inner Wisdom

Wisdom comes in silence,
where the sound
between the diversity of thoughts
is revealed


The upcoming New moon of Thursday 11th of February 2021 will be in the lunar house of Shravan. When the Star of Shravan meets the new moon and intersects with the human astral body, it is an auspicious offering of the lunar year to us for developing clairaudience – the ability of the third ear of the throat chakra to hear whispered secrets.

Each Nakshatra (lunar house) brings a particular energy into focus. The yogis tune into the stars and the moon within their rituals and decode the soul – studying and freeing themselves of the impositions of illusory structures.

Shravan Nakshatra pertains to themes of sound, hearing, listening, words, language, noise and all the themes that encompass the throat chakra.

Sometimes we starve to be heard,
Sometimes we starve for magic
because we do not hear.

Wisdom is simplicity’, it has been said. In the cacophonous themes that reverberate in the inner ear of excess consumption, along with the sounds of seemingly variegated dualisms, where can secret simplistic and magical wisdom lay her head? A head moist with Moon sweat.

Crocodiles & Snakes

Shravan Nakshatra encompasses Makara, the crocodile constellation (Capricorn). It rules over ancient things – the crocodile itself is an ancient creature.

The energy of Makara brought to us by Shravan reveals to us the echoes of sounds of the past. This Nakshatra of Shravan offers us an ear of listening, to revise the ancient lessons needed to be heard if we are to move into the secret sound of wisdom.

Ananta Shesha is the Naag king of Snakes. He is the 1000 headed serpent upon which Vishnu – the ruler of this Nakshatra rests. Ananta is another name of this Nakshatra Of Shravan. Ananta is eternal. When disillusion of opposites comes, Ananta remains unchanged. He is the crown chakra beyond terrestrial reach – from which the Anahat Naad (original sound) emanates. Ananta Shesha was sent under the earth by the creator to hold the earth in place, he keeps balance and stops it falling into the sounds of duality.

The Silent Wisdom of Mauni

This coming New Moon is known by Tantrics as Mauni Amvasya – the Annual Tantric ritual night of silence. For thousands of years it has been kept as a silent time by Tantrics.

A time of mantra and working with the inner-ear of the throat chakra to gain admittance to the inner word of words. A Mauni is a silent sage possessed of inner wisdom, the wisdom of both inner and outer sound. Language and noise can veil the more silent tones of wisdom. The Mauni is she or he who has stripped the forms of sound and gone to the naked music of the soul.

The practice of Mauna is the yogic technique of working with speech. Part of Mauna is to keep silence but it encompasses so much more and presents many inner practices of finding the magic inherent within sound.

When Mauni Amvasya falls under the Shravan Nakshatra it brings a major blessing: it can gift one with the clairaudience powers of Moon-infused flower dew.

The Healing Science of Flowers

Neelpadma is the blue lotus that rules the throat chakra. The Tantrics know that it flowers in twilight at dawn. If Neelpadma is found at the time when the New Moon is in Shravan Nakshatra, the moisture upon its petals is imbibed with power that can confer clairaudience to those who drink it.

This is the science of flowers
that the Siddhas keep alive.

Some lotuses bloom in the twilight of dawn and some in the twilight of dusk. The lunar house upon the full or new Moon at either dawn or dusk leaves healing moon milk-like dew drops upon her lotus petals. If the blue lotus Moon-milk is taken when the full moon is in Shravana, then it makes the physical ears hear much better and can cure hearing problems.

It is not a theory but a practice that can be verified by the Moon and flower practitioner.

is the name of this mostly unwritten
& hidden science.
It means the wisdom of the Moon flowers.

Shravan Nakshatra is the farthest Nakshatra from the elliptical zodiacal belt and rules rare flowers. Far away and rare flowers that are ruled by this Nakshatra are medicinally harvested by Yogins when the Moon is in Shravan Nakshatra.

The Original Sound

The Yogin listens and hears the Anahat Naad – that is the sound of silence in-between the various sounds that bounce off the walls of our inner universe. The internal dialogues that repeat in our inner sanctum are what create our reality.

The Tantric axiom of ‘There is nothing out there’ reveals that there may be a lot ‘in there. The Anahat Naad is the nourishing sound. Ana means food and nourishment, Hat implies duality and Naad is sound. A balanced diet is indeed of psychic and physical necessity.

The Moon Bird

Shravan is the Star constellation of Aquila. Aquila is the eagle, Vishnu the ruling deity of this Nakshatra has as his Vahaanh (power animal) the eagle.

This is the Nakshatra of extreme psychic sensitivitya d the throat chakra which is under its rulership. This Nakshatra is contained within Capricorn. When Shravan Nakshatra is in the lunar orbit, it brings an extreme sensitivity to sound – when in the new Moon then it brings awareness of inner sounds. The symbol of this Nakshatra is an Ear.

This is a good time to work
with mantra and observe silence.
Wisdom comes in silence,
where the linking sound
that lives between and within
the diversity of thoughts
is revealed and unveiled.

The energy of Shravan Nakshatra is the profound quality of taking in and listening. The ability of remembering and keeping information is brought by this star that rules the memory aspect of the Manas (division of mind). When this star creates a vortex with the new moon, then it draws issues around listening and hearing from us to look at. The lunar sway can go as deep as our souls, to draw clairaudience from the throat chakra.

Shravan’s lesson is all about hearing the unheard, forgotten and secret silver and gold intertwined thread that connects all things. This thread resonates mystical sound with the breath of innocence. When we are a storehouse of information in the spectrum of sound, then the dualisms and separations inherent in the codes of language and variegated principles, challenge us to hear the song of unity. Should the gold and silver threads end up untwining themselves – this is the loss of hearing the secret sound.

The Trimurti

The Trimurti are the 3 principle energies of creation, maintenance and destruction. These 3 qualities are ever present in all things. The energy beyond the middle, beginning and the end is the doorway that opens when the balance between them is established.

The energy beyond is a quality of mystic sound inherent within the 3 Trimurti energies. Neither a cry of birth, expressed by the mantra Hey, nor the death rattle expressed by the sound Ho. But the spirit between them.

The Nakshatra of Shravan is one of the 3 lunar houses that have their ruling planet as the Moon. The ruling deity of Shravan is Vishnu. Particularly in his form of Vaman, the dwarf god. Vishnu is the middle part of the Trimurti – he is the balancer between the energies of creation and destruction.

It is to be remembered that Shravan is symbolised as an ear, and it is the ear that keeps the sense of balance in the human system. Vishnu then, is like the cosmic ear. He is the maintaining energy that keeps equilibrium within the Cosmos.

The 3 steps

The constellation of Makara (Crocodile) encompasses Capricorn and is known as the Aquila star constellation. Aquila star constellation has 3 principle stars that are in a direct line and constitute Shravan Nakshatra. They are: Alshain, Altair and Tarazed. They are visible in high summer when they come alive.

Vishnu in his form of Vaman, the Dwarf God, takes 3 steps in the famous story where he defeats Mahabali who had taken over the 3 worlds. The steps that Vaman takes are the 3 stars. In one stride Vaman steps from the Tarazed star to the Alshain star, for the next step, Vaman follows his step and treads upon the head of Mahabali, the head of Mahabali represents the Altair star.

Mahabali is the middle and brightest star of the 3. The step upon the head gradually darkens the star and presses it into the underworld until it returns to its glory in high summer. At this part of the year that we are in now, the star reaches its deepest point of departure and Mahabali resumes his throne as lord of the underworld. 

When Shravan Nakshatra 
appears on Mauni Amvasya, 
then Mahabali calls us 
into the very depths of underworld sound.

The Ear of Shravan

The Ear of Shravan gives us a Vaak Siddhi which is the power of speech. Vaak Siddhi is linked to the tongue and how it is used. The Vaak Mudras are the mudras that work with the tongue as a means to access the inner ear at the throat chakra. 

The throat chakra 
is the ear of clairaudience 
that admits us into the world of hearing the spirit calling.
It is the ear of finding the way home through the noise.

There is a wisdom of hearing beyond information that exists within us all. By tuning to the astral energies that rule that intersect with the spirit, we may see the effect they have upon us; we may see our reactions to effects; we may open doors within.

Central to Tantric practice is the tuning into the astral plane through focussed ritualised formulas. Reducing or extinguishing all impositions upon nature at twilight and sitting in simplicity and listening to the spirit beyond even silence – reveals a place of power.

If you would like to join our Thursday Ritual for Mauni Amvasya



February 7, 2021

The Moon is more than glow in the sky.
She is a psychic mirror that Tantrics learn to read,
and tune into her ever changing rhythms.
Rhythms not Man-made
but ordained by Nature herself.

This full Moon day is known as Savitri Purnina and is the time when woman worships, blesses and honours the masculine principle both within and without herself.
In the orthodox fashion women fast and pray for the wellbeing and honour of the men in her life (father, lover, children…). This ritualistic formula works best when done on this day and confers many blessings upon the men she prays for.

Savitri Purnina
is the time when the wishes and prayers of woman
are fulfilled as the feminine is empowered
by the universal currents of nature.

Woman being a manifestation of these universal currents of femininity, she stands in her power and is granted a boon upon this full Moon.
In the language of ritual there are universal currents based on happening in nature that empower ritualistic undertakings.

Tantra is in many ways
the study and seeking of alignment
between outer and inner currents.
Seeking the balance
between the visible and the visible by ritualistic formulae,
condensing and expanding
upon a specific theme with clarity and focus.

On this Savitri Purnima the Tantrics harness this lunar energy current by their own austerities and mudras connecting the feminine to the masculine in search for balance.
This will be the focus of this specific ritual gathering


This full Moon (Savitri Purnima) falls within the ten day festival that marks the birth of the water element. Ganga Dussehra is the name given the festival celebrating the birth of Ganga (the first water to touch the earth). Its energy is what gives power to the full Moon and represents the strongest feminine energy within the lunar year.
Ganga being She in the form of the water of life that blesses the feminine.

Goddess Savitri represents
the pinnacle of feminine power
within every woman and man.

When this happens then Shuni brings great suffering into our lives to show the destructive nature of the imbalance – which can be restored only by honouring the Feminine.
This may result in outer or inner imbalance. For example, we may honour and serve the solar active currents but fail to equally nourish the receptive and passive states and feelings.
The two Tantric festival build on each other as a process of initiation: first purification, then devotion.

As we experience during (and after) the practice, the dark Moon of Shuni is a time for touching the most profound and challenging austerities of Tantra. It is said that woman is at her strongest at this time and that the feminine is empowered either to cause harm or to bless – according to how she chooses to handle her power.
Shuni represents the dark deep slow planet Saturn that governs the unconscious. He clears the path for us so we may stand karmically naked before the Goddess.


The story goes that Savitri was so beautiful and truthfull that all men were intimidated by her, as her feminine clarity lay bare the truth of their own hearts.
One man alone was able to bare her truth: Satyavan.
But Satyavan, whose name translates as ‘truthful’, had been cursed to die on the first anniversary of the couple’s union.

did not fear her lover’s death
for she knew and believed in her power.

When the time came for her lover to die Savitri stood by her lover and waited for Yama, the Lord of Death (and brother of Shuni), to arrive and claim Satyavan’s body.
Yama arrived riding on the back of a bull and was surprised to find Savitri standing before him fearlessly.
Yama was so impressed by the Goddess’ fortitude and focus, her clarity and devotion towards her beloved that Yama granted Savitri a wish: anything but the life of her husband.
Savitri managed however to outwit Yama and brought her beloved back to life.


Inner and outer relationships are dependent upon both elements seeing each other, balancing and worshiping each other in their own uniqueness. This is the way to unity within the seeming polarity.

Whether it is an inner subtlety of relational energy
between the feminine and masculine manifesting in outer planes of life,
it is the journey towards the sacred marriage
that the Yogis believe in.

The alchemical fusion between opposites. The recognition that one cannot exist apart from the other.

To join one of our rituals,

check out our Calendar


February 7, 2021


The story of Holi begins on Vasant Panchami – Vasant Panchami is a festival on the 16th of February that begins to welcome the spring. 40 days hence – of Vasant Panchami is Holi – which occurs on the 28th of March. Holi is the first full Moon of the bright half of the year. Having passed the spring-equinox the days exceed the nights in length and the first lunar rays of spring are transferred to us on earth on this Purnima day.

Holi is known as the famous festival of colours – where people throw colored powder on each other. People also throw water mixed with different coloured powders upon each other in a game like manner. The festival of Holi has become known worldwide in recent years. Usually Holi is understood as the celebration of life and colour, but what does this fun filled festivity of playful games signify for Tantrics?

The Story of Holi

There are variations of the stories surrounding Holi, from the colour full game of Love of Radha and Krishna. To the cloak of immortality saving the life of Prahlada from the designs of his evil auntie Holika. The story about to be told, itself has its own slightly varying forms. The essence of the Story that follows is clearly spelled out as the rebirth and awakening of colour and sound.

The Story begins with Love.

Pharbhati was the incarnation of Shakti, the earthly manifestation of Shiva’s eternal love. She is the manifestation of Adiparashakti (the essence of feminine power) that had taken form into the physical plane of manifestation. She was in Love with Shiva, but Shiva was so aloof and remote – given to continuous yogic practices and austerities in far off places. He seemed to be far beyond any romantic sentiments – dwelling in Adiparaparush (the great soul beyond). Though Shiva dwelt in the manifest plane of earth, he had traveled back spiritually to the essence of the seed of spirit. 

Notice how the opposite of Shiva and Shakti collide here in Adiparashakti and Adiparaparush.

Pharbhati was an incarnation of Shiva’s Lost Love Sati. After losing his Love and going half mad in rage and longing, Shiva was more ardent than ever to enter into the ultra-terrestrial realms beyond the reach of the human hand.

There was no way that Pharbhati could arouse any interest from Shiva. The Devas had the motive of helping Pharbhati in her endeavour, for it had been foretold that together they would have a child who would save the world of the Devas from Asuraic forces (The Asuras are beings that work for division and the Deva’s are beings who unify. Often translations relate them simply as Demons and Angels but such transposed terms have other connotations that are not descriptive of the principles of Asura and Deva).

Kama was summoned by Pharbhati to help her win Shiva’s Heart. Kama is the god of Love who shoots arrows made of flowers from a sweet sugarcane bow. Kama’s arrows arouse desire in anyone struck by them. Shiva was so far gone into the ultra-terrestrial worlds that he seemed impervious to Kama’s arrows of desire. Kama and his two wives Rati and Priti, each one representing pleasure and longing.

Rati and Priti tried their utmost to coax desire for Pharbhati out of Shiva, they tried with all their powers and charms but to little avail. Shiva was ever so slightly disturbed by their attempts that he opened his third eye – and like a bolt like beam of concentrated rage, he shot a glance at the god of desire and burnt him to ashes, with desire gone there was no hope of Union.

Indeed without desire the whole creation was in peril. Pharbhati was heartbroken at the prospect of failed love with Shiva, equally sad and angry were the-now widows of the God of Love. It took 40 days of wild feminine rage and tears to finally melt the heart of Shiva, and when it did melt he restored Kama to life and entered into eternal embrace with Parvati.

The resurrection of Kama (desire)
and the resultant Union of Shakti and Shiva
is the day upon which Holi rises and falls.

Holi marks the arrival of spring and the colours of life ready to come into flower. A place where stories are not only written, but lived.

Melodies of Love

Holi takes place upon the First full Moon after the spring equinox. The days are now longer than the nights and this first Full Moon of the ascending season marks the lunarly beginnings of Spring. The medium of the full moon reflects these forces of colourful flowering to us – Nature affects the hormonal currents as flowering abounds in the plant, animal, human and spiritual worlds. The beginning of Holi began 40 days previously on Vasant Panchami, which is Tantricly known as the ritual day of Sarasvati Puja.

Sarasvati is the Goddess who plays the divine melodies upon the Veena (a sitar like musical instrument) the Veena is a seven stringed yogic instrument that has deep effect upon the Chakric system.

The seven strings of the Veena, correlate to the seven chakras. The four melody strings of the Veena, relate to the 4 lower chakras and to their corresponding tangible physical elements. The three drone strings of the Veena correspond to the subtle elements that rule the upper 3 Chakras.

Sarasvati is often regarded as the Goddess of music and wisdom. She is the beloved of the creator Brahma. She is the one who receives the seed of creation and gives birth to the fruit. Her fruit is the music of Love.

Sarasvati plays all the Ragas (melodies) for the 40 days that the saga of Love goes on for, (from her Puja day on Vasant Panchami on February the 16th – unto The Day of Holi on the March the 28th. All the notes and scales of Love were played out in the eternal story of Love and its endless trials and tribulations.

When the final Union came about
between Pharbhati and Shiva,
the complete scale of colours
that had been played for 40 days
erupted into the festival of Holi.

The Ritual

Tantric ritual traditionally has kept this Holi night for the practice of inner and outer colour and sound. The intonations of each Chakra along with inner and outer work with colours is ritualised in a colourful and enlivening practice of awakening to Life and Love.

The effect of these practices is to open the potentialities of the Chakras. The Chakras are doorways to the spirit and can be accessed with the keys of sound and colour. Working with the chakras opens the psycho-physical doorways of our being.

Emotional and physical memory is stored in the chakras and gives shape to the reality and dreams we live through in our lives. Tantrics understand that we create our lives through the lenses of the chakras. By working with the Chakras, we create the possibilities to open to the spring like blooms of Love and uproot the dead and faded bouquets of yesteryear in the healing journey of life that we are all upon.

Like the Music of Sarasvati, the sacred song and its colourful sounds are infinite and eternal. There awaits the possibility of magical and hitherto unknown mystical tones when we open the doorways of the chakras into the melody of expansive resonant being.

This ritual
will be a focused evening
of working with the colours and sounds
of the chakras,
musicians and artists of the soul are welcomed.

Please note | For this ritual you will require seven pieces of paper that reflect the rainbow of the colour spectrum: red, orange, yellow, green, blue, indigo and violet. You can be creative and use scarfs or colour in upon pieces of paper. We will be engaging in some powerful and lesser known tantric mudras of colour, known as Rangi mudras – literally the practice and attitudes of colour.

If you would like to join the ritual,



February 4, 2021

The Link in the Chain of Wisdom

“Tantra is a wisdom tradition
that entails strict codes
that are handed on
in unbroken lines
from teacher to student.
The teacher is the link
in the chain of Tantra.”
– Boonath

The original tantric practices are themselves the Teacher that lead us to the Darshan (vision) of the Guru Tatva (element). In the Tantric tradition, the teacher is no job but a way of life. Those who go forward and become teachers must undergo extreme initiation rituals. Such rituals are to teach – or rather prepare them for a life that belongs more to their students than it does to themselves.

The axiom in Tantra
is that our lives are not given for ourselves
but for others.

The sacrifices of a true Guru go unseen and know no bounds. Sacrifices motivated by the weight of Love.

So, who is the real teacher? The real teacher is the one who is able to look beyond the characters that we think we are and see who we really are – beneath the library and archives of personal history that lay upon our souls.

The Love of the teacher is not sentimental, but is a visionary Love of who one really is. The Guru’s role is not to satisfy and please the student by giving what the student wants. Often the Guru must show the student that which they do not want to see. For those blind spots are where the true self lays buried like a precious underground treasure. A strict Love indeed, but a love that forgives time and again and holds a profound and enduring patience.

The teacher can seem like they do not care. Maybe they do not care for the skin and surface of our being, but rather for the one within and behind the costumes and uniforms of character.

The Heavy One

Guru means “the heavy one”. Guru is an adjective that means Heavy. It is popularly and modernly translated as “the one who brings one from darkness to light”. This is a perhaps a Christian inflection upon the principle of Guru. In-fact, this could be said to be a reversal of meaning.

The Guru
is linked to Shuni
who is the planet Saturn.

The stories of Shuni tell how he is the child of Surya (sun) and, with his dark, weighty underworld gaze, even caused Surya to blacken like a dark crispy shadow of his former self.

Saturn is just like the Guru who has the ability to take away all visible and known light within us and take us into the parts of ourselves that have previously not been seen. Tantric methods themselves act like the Guru who can eclipse the solar vision and make us aware of the spirits of the unconscious world that colour our visible lives. By seeing and addressing these forces, they are brought to the altar of the soul for healing, and this is exactly what the weight of the Guru stands for.

Just like Shuni, the Guru indeed brings us to our deep inner weight. He is like the heavy dark planet indeed and brings us to our deep inner weight. Like many words of the ancient Tantric vocabulary, Guru has been transposed across cultures and taken on a somewhat negative connotation in modern times, of the imposter who uses his power to exploit others. This is indeed a pity and an anomaly of a sacred word and principle.

There may be those who set themselves up in such ways as they break into the western market. Tantra has never attempted to break into any market, though a click and scroll through contemporary pages might show us differently.Again another word that has become taken out of context and perhaps been used, exploited and cheapened dishonorably.

Codes of Tantra

The codes of Tantra revolve not around the teacher as a personality or a celebrity but as an imparter of techniques. To be able hold some of those techniques indeed takes great power and weight. Tantra understands that the heavy quality and presence of the Guru is of utmost importance.

The heavy Guru has a heavy vision that must stand for solidity and look only to the real weight of the student. The guru is strict about practices and the regulations of living if one is to come to their true deep weight. Flimsy light weighted abstractions, and clever escapisms, pale in the presence of a Guru.

Laghoo is a Sanskrit word for ‘aspirant’, which means ‘lightness’. The Guru in his vision might not tolerate or overlook the light, flimsy and superficial aspects of our character. The Guru puts heavy focus upon the deeper self that is locked in the very weight of our beings.

If we are used to living in empty vanities and airy realities, the mere presence of the guru can at times be painfully and heavily oppressive. If we are to follow the teachings of Tantra with sincere focus, it does not allow for indulgence in superficiality and escapism. The Tantric way is the way of the weight of reality and truth.

Sometimes seeing and swallowing the Truth is bitter.
But sweetening the bitter taste is not an entertainment
that Tantra in its original sense will offer us.

The strict insight of the Guru is timed with reality. The gaze might appear as unbending, but their eyes firmly focus upon the optimal power of each and every moment. This is a vision that takes great stamina and integrity of being. This is the weight that awakens the weight of the Guru Tatva.

The weight of the Guru is within each person. The practice of Tantra has a strict form that becomes the Guru. If one is to engage in ritual successfully, there is to be no sidestepping – light wishful thinking and good intentions do not drive the car. One must put the foot on the pedal of Tantra. It is a pedal that takes some weight to press.
That is the weight of the Guru.

The true inner and outer teacher wants us to drive the car of life power and not sit back lightly and hypothesize about life. Whether the teacher is our own inner rooted power, or an actual outer guide, the essence of the Tantric teacher is weight.

What blocks the Teacher from coming close? The teacher can not reach us if we are in the habit of defense. When we suffer the habit of defense then we close off the reception of Wisdom. Defense fades as trust grows, by learning to uncover and trust our innate power we open ourselves in all directions.

Tantra is not really the learning of new wisdom, but rather the unfoldment of our innate wisdom, by a process of practical study we come to see the coverings upon our innate wisdom – and can then apply ourselves to a process of excavating the treasure of inner wisdom.

As we uncover wisdom’s face, we may find the hidden games and strategies we play to banish wisdom from our hearts and lives. Wisdom requires the death of many things. We might have got used to make others less than ourselves in our hearts and minds.

We might have come to believe
that the unseen and unknown has no measurable value.
We might have taken the stance
to critically stand above things
as a way to navigate through life.

Wisdom’s Face

In the face of uncovering wisdom, such things may come to our attention. Such attitudes isolate us from learning anything now and fade as the mask is taken away from wisdoms face. These attitudes are based on traumas that have their roots in self protection. The dropping away of self protection does not mean that one abandons their dignity. The Teacher wants us to keep our dignity while losing our self defense against wisdom – this is the state of empowerment where subservience and self abnegation does not enter.

The Teacher of Wisdom series

All those who venture to find the inner Guru
and to understand the role of the Teacher
in Tantric wisdom
are welcomed to the Teacher of Wisdom series of rituals.

The days upon which we shall gather for these rituals relate to Tantric festivals that celebrate the quality of the Teacher of Wisdom. Beginning on the ritual day of Mauni Amvasya, we will honour the secret and unspoken wisdom of silence. A Mauni is a silent wise teacher, and this dark moon day is commemorative of exactly that.

We will move onto Maha Shivaratri in the next ritual and honour Shiva. Shiva is the first of the Yogis and he is connected with ritualistically on the night of Shivratri, which translates as the great night of Shiva.

The next ritual will be upon Guru Purnima, this is the full moon of honouring the elders and the principle of the Guru.

The final ritual in the Teacher of Wisdom Series will be upon the commemoration day of Lord Dattetreya, he is the legendary Tantric of the left hand way of the heart.

In this series of Wisdom rituals, we will travel through many Tantric practices along with the stories and myths of these ritual nights. We will connect to the principle of the inner wise one that takes us deep into the Inner Teacher of Wisdom in the cave of our Heart.

In this series we will explore tantric methods of wisdom that can eclipse the outer solar vision, and make us aware of the spirits of the unconscious world that colour and dream our visible lives into being. Tantra is the Teacher.

To find out more about the series and the rituals



January 13, 2021

Guru Ravidas was notable as one of the most radical teachers ever to appear in India. He was a forerunner of justice, though his name is certainly not forgotten, his acclaim deserves more mention. Not a political revolutionary but a mystic poet, Ravidas brought together a Tantric vision of living spiritually within the heartless confines and structures of life.

Let us investigate the Vision of Ravidas with a question or two in our Heart – “Has Ravidas’s vision become manifest in the world?” Maybe the more important question is – ”What vision do we hold as we wander through our lives?”

Perhaps in a country like India, where 20 percent own 80 percent of the wealth and influence his teaching, the figure of Ravidas is not popularly or widely presented by those in power. Regardless of this, his influence still exerts itself in spiritual and social fields. Tantrics hold him in high esteem as one of the true wisdom teachers who addressed equally the balance between spiritual and social life.

Figures like him rock the boat of established order and are forerunners of spiritual and social revolutionary maneuvers. Reactions such as discriminatory assassinations, religious unrest  have risen as reactionary measures against his vision of unity. But equally have sectarian obliterations of modern oppressive social/religious structures grown from the seeds he planted in the unified Heart.

In his life and in his wake Ravidas left a profound legacy that stood for both inner and outer spirituality. He is revered by Tantrics for his no bullshit vision that exposed and continues to expose spiritual hypocrisy. 

His vision was that 
the outer structures are a reflection 
of our inner constructs. 
Like an architect of the soul 
he shows that sometimes 
a pause is needed 
to review the framework 
and its reflection.

He was a cobbler, fixing and making shoes, considered a low-class and second-class being in the elite view of the spiritual society in which he lived. He continues to be a profound influence even unto this day and age. Organizations that support his teachings have stood up greatly in recent years against religious and class discrimination.

Though his poetry still exists, much was destroyed by forces that opposed his vision equality and favored their elitist structures to stay in place. The life of Ravidas was a testament to the vision of undying truth within all beings – a truth that lies oppressed beneath the man-made separative constructs that are rampant in organised societies. That vision of truth that Ravi Das saw is known as the inner Guru Tatva – that is the element of the true power and weight of the spirit.

The highly discriminatory caste system and organised religion in India was something that was held in lowest regard  by him. He saw it as something that caused nothing but sickness of repression. Some states in the modern day  India to this day, still do not allow so-called lower-classes to own land or start businesses. He did stare right through the high caste oppression of the priestly classes, both in terms of its class discriminatory measures, its oppression of women and religious elitism.

In today India things have not changed greatly since his times. There are still temples that are out of bounds to lower classes. There are still religio/political systems that carry out cultural oppression and strategic genocides of lower classes. Ravi Das recognised that the patriarchal dominance was so ingrained in the systems of India, it was so established that it seemed to be the norm.

If anything can be said of Ravidas, it is that he had the vision of the Teacher of Wisdom, who saw through the sick structures that prevail in society. His followers are marked by his vision of seeing beneath the surfaces and carry his trait of exposing injustice, left right and center. 

Ravidas is perhaps best known for his mystical poetry, his verses have found their way into several prominent scriptures of India. Ravidas was a romantic poet who spent his time seeking out and spending time with mystics, babas and and Sufi mystics, following the ways of magical vision and composing mystical verse. His verses enumerate upon romantically spiritual themes, revealing that love and grief go hand in hand. Grief as a refining sobering force of awakening, is sprinkled throughout his poetry.

Ravidas rejected
all spiritual definitions,
he saw beyond forms and techniques
and followed the way of the heart.

There have been numerous speculations whether he was Sanguna or Nirguna. Sanguna means to worship and celebrate the forms that Shakti takes, Nirguna means to only focus upon the supreme reality with no reference to manifest or visible form.

To Ravidas both views were correct, both views were equally important and irrelevant at the same time. Indeed he stood firm to see the enduring truth beyond dogmatic forms and accepted ideologies.

Many of the so called central cities of religion and Yoga in India today are still headed by the higher priestly classes. These cities are regarded by outside Westerners who don’t know about the codes and history of religious oppression in India as the holy cities – in the unified vision of Ravidas, little could be further from the truth. Within India there are temples where lower classes and women are not allowed. Westerners and Women are readily admitted but natives risk violence, persecution,  livelihood and even their lives if they would try to enter. 

As long as the oppression of the caste system and socioeconomic inequalities across the world still occur, Ravidas will always be relevant.

was a true mystic
who spat in the blind eyes
of ideology.

His vision was that Love is the truth that is constrained and strangled by social and spiritual segregations. He had the vision or Tadaruup – that is the vision that there is only one collective Heart together and no separate hearts. He was profoundly compassionate and felt the suffering of the oppressed heart, but rather than wallowing in pity he stood up and spoke things that were so reactionary that they had never been spoken.

He engaged a whole new courageous movement of equality within spiritual and social contexts – influencing many poets and mystics down the line. The Sikh religion has its origins with Guru Nanak. Guru Nanak was said to be a friend of Ravidas and came under Ravidas’s influence to compose the verses of spiritual poetry, the poems of both mystics share similar qualities of devotion and revolt against the bigotry of the time. Without Ravidas it is quite possible the Sikh tradition would never have come into being as Ravidas put out his influence upon Nanak.

This has a sad irony to it because the Sikh religion itself as it gained status became a grand modus of oppression of lower classes itself. Itself withholding the rights of land, and commerce and creating religious segregation, or allowing lower classes inside its temples. The Sikh religion as it developed became a pinnacle of patriarchy and abolished the Goddess while looking down upon the ancient pagan practices and rituals as lesser superstitious. The writings and developments of Sikhism can be seen to develop along the passage of time into even more constrictive patriarchal forms, becoming even military. It can’t be refuted that the Sikh military has been a profound source of power for saving India from invasions and upholding justice. The source of its teaching must be acknowledged and its injustices must be exposed if we are to really look with the humanitarian vision of Ravidas. Ravidas in his romantic verse speaks time and again of the need to humble and crumble the structures of the constructed separative self in order to unveil the one heart.

In his poetry there are consistent references to the insanity of societal, religious and gender segregations.  His poems are devotional and mystical, they embrace feelings of mystical longing and sorrow upon the path. But they are more than mere mystic sentimentality.

Ravidas brought together the mystical and the mundane structures and how they interrelate and even cancel each other out. His radical approach in the rampant sectarian society in which he roamed created an aura of freedom in him that inspired everyone he met in his wanderings.

Ravidas’s style of mystical poetry was so influential that he was emulated by other Indian poets after his lifetime, many of the disciples of his poetry were so devotional to him that out of respect they would assign their writings to Ravidas.

The best known disciple was the mystical princess poet Meerabhai. She composed some of the most beautiful verses of mystic poetry to ever grace the Earth. Many of her verses have found their way into contemporary song. 

The princess Meerabhai wrote deeply about the longing for the true vision of the unified heart. Though the message in her writings is hidden under romantic symbols, her message was the same as that of her inspiration and Teacher – the great Guru Ravidas – the message of love and the one vision of unity, both within and without. Ravidas was a true Tantric, he saw the absurdity of so called elevated spiritual ideals being proclaimed – but not being mirrored into outer life. He saw through the empty agenda of the high class power hungry religious elites.

Kings and princesses sought the company of Ravidas, this was a radical maneuver in itself. As Ravidas was labeled within the so called lower classes. The higher classes were deeply troubled by the fact that a spiritual teacher could be of lower class. This might sound like it is of little matter to our ears these days but it is something quite profound. Even to this day the elite classes in the majority still believe that a so-called person of lower caste can not be a spiritual teacher, women are equally considered lower class and barred from the elite patriarchal orders of the priests.

The role of priest and guru is reserved to higher classes. Things may have changed somewhat, but in the times of Ravidas it was unacceptable that a cobbler was a spiritual teacher. Scriptures and rituals were hoarded by the higher strictly, wisdom that had power was  not shared but kept within elite circles that oppressed lower classes.

Ravidas’s message showed his vision that if such wisdom is exclusive, then another and more inclusive and cause for social oppression, then another way of wisdom was needed. He rejected the codes and forms along with their corruption for the vision of Tadaruup, that is: there may be many beats, but there is only one Heart.

If you would like to join one of our rituals,


January 12, 2021

Womb & Fertility

When looking at the Goddesses in Tantra, we notice that their stories point to energetic principles. A Goddess is a whole world of energetic principle made manifest. The work of a Tantric practitioner is to condense and concentrate their forces into a focussed point and to align with the world of the Goddess behind her archetypal representation.

When we align to a Goddess, we bring vast movements to our lives. It takes work and focus and is no flimsy affair of wishful thinking and good intention. The Vajra is the concentration of electrical force. In any branch in life the focus of force is a law for creation. This law holds true in Tantra as it does in any other field.

Tantra is a practical subject that magically accesses the Goddess energies through concentrated techniques and ritual applications. The techniques are not random, but work with a scientifically detailed system of aligning to astral and lunar currents. 

Mudra and Mantra become a doorway that links our lives to the energies of the Goddess. By opening doorways, we can bring much healing and flow into our lives. Just as there is a herb for every ailment – there is a Goddess principle for all our human trials and tribulations.

The goddess we shall be working with is Khodiyar Maa. Though she is not a vastly known Goddess, she is highly honoured by Tantrics. Having a wider appearance in Gujarat and Rajasthan which lay over 7000 Km apart from each other .

Khodiyar Maa is worshipped by Tantrics on her Jayanti, the half rising Moon, which this year falls on the 20th of February.


Khodiyar Maa is linked to the womb and to childbirth, and the marriage between the base and sexual Chakras. She is a Goddess who shows us how to unite the energies of Earth and Water – first and second Chakra themes are her speciality.

Working with her ritualistically, can help those wishing to conceive a child. Khodiyar Maa is a powerful Matriarch to those who have interest to work with the sexual energy and its healing.

Khodiyar Maa is a Goddess who addresses physical handicaps and impediments. Indeed her name means ‘the Goddess who hobbles and limps from an injury’, as she herself has an injury that causes her to limp.

She is a fearless Goddess 
who will ride deep 
into the bowels of the underworld 
to bring about healing.

She addresses emergencies and is a profoundly helpful force that will stop at nothing to address the problems of life and living.


There exist a few variations of her story, some assign her to an actual historical figure. The outer variations of the story in the inner essence are the same. It is a Tantric teaching story that embraces pivotal themes of love, sex and birth.

Here follows an account into the birth of Khodiyar Maa…

Once upon a time there was an unhappy Man and his wife. They were unhappy because they were Baanjh (childless). They engaged in much ritual, and sexual Tantric practices to call upon Shakti and Shiva for help.  Though they were devoted and focussed in their rituals, it seemed that nothing happened. They grew so desperate and thought that offering their lives was the only option left, they were so stricken by their barren plight that they came to the very edge.   

As they reached the very pit of despair, Shiva appeared before them and said: “let’s travel down to the deepest and most beautiful world – where the most precious jewels are to be found”. Deep into the bowels of the earth they journeyed for 7 days and 7 nights, until they came to Naaga Lokh, the deepest 7th subterranean portion of the Patala (underworld ) – the place where the seed and origins of things are to be found.

Shiva introduced them to Naagaraja – the King of the Snakes.

The couple related their childless situation as the King of Snakes listened on. The youngest daughter of the king of snakes was moved by their tears and laments and slithered in to help. Taking charge of the situation, she hatched a plan along with her 7 siblings.

Whispering in snakey tones they reassured the couple that all would be well.

The snake princess told the couple to return to their world and prepare their lives as if they were expecting 8 babies.

The couple climbed back up to the Earthly plane and went about preparing all the necessities for 8 babies. Clothes were sewn, little cribs were made and all the supplies that are required for babies were brought into their home.

And on one 5th Lunar night, when the moon is in the snake constellation of Ashlesha Nakshatra… a miracle happened.

Eight shakes crawled into the baby cribs and grew unto the half moon, until they took the human form of little human babies. Cries were heard through the fulfilled home and now the wife and man wept once more; this time though with tears of joy.

The eight children of the Snake God had been so moved by the sincerity of the previously childless couple that they saw the opportunity to enter into earthly incarnation.

The babies grew up with a great underworld power, 7 daughters and a single son. They dressed in jewels and wore only black as a testament to their underworld heritage. They were magnetic and had mesmerising eyes that saw into the depths of things.

Naaga Lokh is the place of deepest black. That is the place where the most brilliant jewels can shine.

Seven daughters and one son brought life to the home, each daughter wore a jewel reflecting the colour of each Chakra. They doted on their brother, day and night, but one day, destiny had it that the brother was to meet with a great misfortune. He was bitten by a snake and his life hung in peril.

Khodiyar Maa was the most ruthless of all the sisters, she wore the jewel of the second chakra that in Tantra is known as Shaktistan. The place of the Goddess.

Instinctively, she knew exactly what to do: she dove into the waters of the nearest lake and swam deep down into the underworld to obtain the life giving elixir from the Naaga world. 

Upon swimming back-up to the surface to reach her brother – who would be dead by midnight, if she did not succeed – another misfortune ensued, as she met with a vicious undercurrent that dashed her on the rocks.

She sustained a serious injury to her foot and could no longer swim. As the life of her brother and herself flashed before her, she helplessly began to surrender to an inevitable death. A Makara (crocodile) watched on and quickly swam her to safety. Upon the riverbank she emerged, limping homeward. 

Her siblings who had been waiting eagerly for her to return rejoiced as they saw her – ‘Khodiyar Maa’  they chanted in unison (Khodi means ‘injured foot’, and the girl was given this name thereafter).

‘Praise to the limping healing Mother with the Amrit, (elixir of life) they sang, ‘Here she comes limping’.

The elixir was given to her brother just in time and all was well.


In the month of Makar – the month of the crocodile – also called Magh, depending upon region, the Jayanti of Khodiyar Maa is celebrated.

The sun has moved only recently into the constellation of the 10th zodiacal house of Capricorn. This is the Crocodile constellation of Makara, that the Tantrics work with upon this ritual day and night.

Khodiyar Maa’s Jayanti is on the half ascending Moon, just as in the story when she emerges from the water unto the earth.

The two halves are mirrored in her annual Lunar day. The halves are apparent also in the symbol of the crocodile constellation that is the transition between water and earth and the dark and light poles of the year  (see also the blog dedicated to the pagan festival of Lohri )

Khodiyar Maa has temples that are often located next to rivers.

In some parts, legend has it that a real crocodile emerges from the waters to give Darshan (vision). The crocodile is an amphibious creature that moves between Water and earth.

It is the Vahaan of Khodiyar Maa. The base Chakra is linked to the earth element and the water element rules the second Chakra. The symbolism of the story shows how Khodiyar Maa transitions between these two elements with the healing elixir.


Khodiyar Maa grounds the sexual power into the base so that the Kundalini serpent can ascend from a rooted foundation. The Kundalini power must have a base, if it is to not be dashed upon the rocks of the spiritual waters of life in which we spin.

The story is a deep inner allegory with many layers of meaning.

In Tantric practice one meditates upon such stories which reveal their secrets as insight and focus develop. The seven sisters are the manifest Shakti powers of the Chakras who focus on.

The one brother that they have represents Shiva, the raw unmanifest unto which the Kundalini of the Tantric is focussed in devotion to the great mystery. Just as the story reveals, Shakti is needed to animate him into life and into our lives.

The Tantric is just like Khodiyar Maa – diving deep and fearlessly, despite dangers and fears – unto the quest of the elixir of life. 

The story shows that her motivation was Love and not power. When the motivation is raw and pure then the ally appears, just as the crocodile did in the nick of time.

Hara Ring

If you would like to join the ritual,


January 7, 2021

The great nourishing Goddess.

Her name translates as the bringer of vegetation. She is twilight blue in colour and she brings the gift of herbs, fruits and vegetables to the earth.She is the revealer of nourishment and growth.She is the great mother of nurture who brings magical growth to the garden of our souls. 

The first rising half Moon of the year, 20th of January, signals the beginning of Shakambhari Navaratri, the nine nights of Shakambhari. For Tantrics, these 9 nights are a time of studying deeply the order and disorder of our inner garden. 

Shakambhari is depicted with a thousand eyes from which she waters the garden of our soul, reaching even into the most dry cracks and corners. She brings the latent seeds of our secret innermost life into flower.

Shakambhari’s powers culminate on the 9th night, upon the Full Moon of the 28th, when she is in her full power, on the day known to Tantrics as Shakambhari Jayanti. At this time, celestial forces are conspiring to begin awakening nature after her yearly sleep. Being ourselves part of nature, these forces act upon us and afford us an opportunity to tend our spiritual garden.


The story of Shakambhari 
tells of the law of exchange, 
of the psychic & physical draught 
that befalls us 
when the reciprocal 
laws of exchange 
are not honoured.

Tantric cosmology tells of how the world of spiritual forces, intersects with the physical plane by a law of reciprocity. The spirits depend upon us for sustenance as we depend upon them.

If we dissociate ourselves from the spirits then we fall into psychic and physical famine as the story points out.

Shakambhari is also revered as the keeper of the secrets of herbs and their medicinal use, precisely because she mediates between the spiritual and physical world by means of the law of reciprocity. She reveals the science of healing by showing how a herb and a food has a different effect upon the system according to which Moon phase it is imbibed upon.

Shakambhari is the great balancer and nourisher, she balances dryness and moisture. The balance of dryness and fluidity in the human mechanism is of utmost importance to Tantrics. Tantra has a whole science of practices connected to working with dryness and moisture, by honouring the fluidic movements of the Moon.

When the psychic and physical nerves become dry there is not the capacity for the human organism to contain Shakti. 

Some substances and practices are extremely heating and create dryness, this is to be balanced by working with the Moon and especially working with the 3 fluids that comprise Soma, that is Milk, Blood and Water. Soma balances dryness and brings softness and the feminine into our orbit.


Once upon a time a great draught was upon the whole of creation. The draught was so severe that it traversed the 3 worlds: conscious, unconscious and earthly. The Draught came into being because the people of the earth plane had stopped to give honour to the spirits and fallen into dryness. The fluid of Soma did no longer flow and in utter dryness Shakti did not have a place, for she lives in the place where fluid and dryness is balanced.

The sacred ways had been forgotten and the spirits who depend upon human interaction for their sustenance were drying out for lack of prayers and offerings. The dryness of the spiritual world was reflected upon the earth plane. All around things withered. As the spirit world grew dry, so did the earth, right down to the very underworld, the great famine enveloped.

The earthly plane is nourished by the milk (Kamakhya) the fluid of desire.
The underworld is nourished by blood (Kali, the fluid of time)
The upper world is nourished by water (Kala) the lord of death who takes us Northward.
Together these sacred fluids equal Soma.
The heaviest of the 3 sacred fluids is Blood, then milk, and then water.
The heaviest sinks South, whereas the lightest rises North, and in the middle is the milk of life.

The story tells of how there were few people remaining upon the earth who still knew of the importance of giving honour to the upper and underworld spirits. These last few adherents to the laws of nature and magic were the original Tantrics. Legend has it that together they formed a circle and prayed with their united concentrated spirits. They believed that Soma could still flow and heal all worlds. And so, upon the first rising half Moon of the uprising year, they gathered together in concentrated ritual and prayed to the Goddess for help.
The Goddess was nourished by their Love and longing and she took form as Shakambhari. She nourished them in return, for this is the Law of Exchange that is central in Tantra. 

Shakti (in the form of Shakambhari) found an entrance back to the earth plane through the middle line of the half Moon. Rituals of the half Moon are rituals of balance. 

The dividing line 
between the two halves 
of dark and light 
becomes a meeting place 
of polarities 
& a place where spiritual forces 
can be invoked.

Shakambhari appears on the half ascending Moon of Shakambhari Navaratri (20th of January) in response to prayer, and she comes into her full power on the Purnima (full Moon, 28 January).

Compassion & Nurishment

The story of Shakambhari tells of the importance of compassion and nourishment. She appeared with a body covered in a 1000 eyes and, as she saw the dried out plight of the creation, she began to weep tears of compassion for the suffering of the world. Her many eyes wept for nine nights, in which she poured Soma into the three spiritually barren worlds and restored full moisture by the Full Moon.

She brought fruit, vegetables and herbs, she restored the rivers and the seas and sprinkled the earth with flowers.

Shakambhari Puja is a ritual of finding that for which we hunger and thirst for, her ritual goes even further to look into the reason for the inner hunger,

Shakambhari can teach us the laws of nourishment and fortification. She brings healing to our relationship with nutrition on inner as well as outer levels. Shakambhari reveals to us the laws or reciprocity, that in order for the garden to grow, we have to water it.

If you would like to join the rituals



January 3, 2021

Welcoming Back the Light

Amvasya | Dark Moon
Wednesday, 13th January 2021

Loh means light and gives its name to this festival day of welcoming back the light. This is an ancient Indian pagan festival that is celebrated in the North of India. It has echoes in South Indian festivals that occur at the same time. On the other side of India, 1000s of kilometres away in the south on the same day, Bhogi festivals are celebrated, which have identical elements. All these festivals are centred around the lighting of sacred fires.

To befriend, 
& become befriended, by Nature 

Tantrics have aligned to these rituals as a way to both befriend and be befriended by nature. Such so-called pagan celebrations of the rhythms of nature have been dismissed by orthodoxly as primitive and based on superstition. 

is a pagan tradition 
of honouring 
the forces of nature. 

Some of the traditions and festivals became assimilated into the widespread arena of religion while others remain more obscure or only regionally acknowledged.

What may not be apparent to Westerners is that orthodox religion in India is highly organized and deeply discriminatory within a class system that itself strives to keep in place such discriminations.

There are temples in India where only higher classes are admitted, this seems to have gotten even more corrupt with the passage of time. The higher caste priestly orders, have their fingers in politics and economics more than might be known.

Tantra, on the other hand, especially within this Left Hand Path, has been horizontally organised outside of formal institutions and widely inclusive, both of class and gender differences

Western Views 
& the excessive fire of modernity

Until recent times, 
Yoga in India was a male-only tradition.
Western women were allowed
to join practices
because of their money
& their status.

Western women have entered into the yoga arena only within the past century and because of the generous economic offerings they were making to Gurus and their ashrams. It is common in fact still today for higher class priests and teachers to admit Western women into their classes, but refuse Indian women.

A lot of the rituals 
that the male line carries out 
are paradoxically not suitable for women, 
though Western women 
might be the main followers
of the practices.

Fire rituals are most unsuitable for women, they can cause great imbalance to the female bodily chemistry, disturbing the reproductive faculties and menstruation. 

The female chemistry carries an excess of fire in accordance with menstrual rhythms. These rhythms can become agitated and disturbed when working with powerful and unsuitable rituals that involve fire. Rituals are to be understood as powerful harnessing of energies that produce powerful effects. That we live in a very solar oriented society, with excess of light in terms of electricity, already gives an excess of fire to the organism. 

Fire rituals came from a pre-electricity era, it must be remembered. 

Both the modern man and woman suffer from the imbalance of excessive fire and heat in the system. Cooling practices are more called for in this time to balance the solar and lunar forces in both the psychic and physical organism.

Many of the structures of the prevalent Vedic mantras do not include the feminine Matrikas (tones) and unbalance the female constitution, if overly worked with.

It is essential to see 
that the ritual practices 
of the Vedas 
were never meant for women.

They have indeed landed in the hands of organised patriarchy and carry forward great streaks of fascism in the way that the philosophy of the Vedas has been used and manipulated by the higher classes to subjugate and exploit people greatly under the pretexts of religious dictates.

Witches & Pagans
Wisdom of the un-Civilised

Not all Indians actually honour the orthodoxy and the higher priestly classes in the same manner that Westerners often do. Those who are not in the elite know by direct experience how the higher religious classes mix their powers with religion to subjugate and exploit what they – the higher classes – deem as the common and uneducated pagans.

The tribal, 
shamanic & Shakti traditions 
have often been outcast 
from the orthodoxy 
as lesser or uncivilised.

The Tantrics did not arise as a reactionary measure towards the orthodoxy as several popular Western scholars of Indian lore have assumed. The Tantric wisdom predates organised form, and is the natural essence that imbues and developed into organised form. 

is the uncivilised 
and pagan roots 
of all Orthodoxy.

It is like the folk wisdom of the Witches in the West, who were burned by the patriarchal inquisition and replaced their wisdom with codes and structures that go against nature and the laws of compassion.

Northern Talk

There is a saying in Punjab 
that if you see a priest 
first thing after leaving your house 
you should go back home 
and wash yourself of the filth of their presence.

Although Lohri is a festival that is confirmed today to some parts of Northern India, once upon a time this festival was embraced by the whole of the rural people of the North. 

Even Pakistan, when it was still part of India – in relatively recent times – and not a separate state as it is now – It was a place of Tantra that recognised festivals such as Lohri which are now commonly regarded as minor folk festivals that do not enter into the religious mainstream.

Tantra still thrives in an underground form in the North of India, where many of the ancient natural pagan rites are adhered to. In places such as the Punjab this can be seen. Both the external and the underground Tantric practices that are prevalent there, are more in the tradition of shamanism and Nath cults that are not always linked to some of the well known hierarchical Sampradaya orders, but have their own origins and lesser known and secret lineages.

Punjab is a northern region of India infamous for its raw disregard of upper class orthodox elitism. It is also a state in India where 5 rivers converge. The 5 rivers of Punjab correspond to the 5 nadis (energy lines) of the throat centre. Indeed the North Indians are highly vocal and known throughout India to produce the most legendary singers. This is why Lohri is a festival of song and festivity.

Rock your Baby

Lohri in the North is also understood to mean ‘to rock a baby’. Newborns are blessed upon this day. The first Lohri of newborns is a time of great celebration and the reception and giving of blessings. The Hisdray arrive to bless children on this celebratory day.

The Hisdray or Kusray – as they are called in the Northern states – bring blessings to Babies and Newlyweds

are an ancient & mysterious 
cult of eunuchs 
– transvestites, hermaphrodites 
& more recently transexuals –
who have the power of Vaak Siddhi:
the power of blessing or cursing
through speech.

They come to bless upon the day of Lohri to both babies at their first Lohri. The festivities  involve group prayers, games, song, dance and other festivities of Lohri, sweets are made, given and collected, fires are lit and games are played.

Honouring the Guest

What many people commonly do to celebrate the winter solstice is basically done on Lori. Fires are built at sunset and circumambulated. But why is Lohri not celebrated upon the Winter Solstice?

The Solstice is a solemn time of the year’s longest night, a time when the night forces are in full force and honoured by the Tantrics by immersing themselves fully in darkness. 

The Dark 
is deeply tuned into 
around Solstice 
by Tantrics.

When a long staying guest leaves our house. It takes time to acknowledge their absence and come back to a settled state without them there. This is how Tantrics consider Winter Solstice.

Lighting a fire 
on the Winter Solstice 
equals to rejoicing 
for the guest leaving 
while the guest 
is still in your home.

Tantric allow for the guest – darkness – to leave with dignity and mourn their departure. Perhaps the modern denial of the night forces is responsible for lighting fires even before the guest of half the year has departed. In the Tantric view it is ungraceful and ungrateful to see off the dark in such a way. For she has given so much. What she has given exactly is for one to discover for themselves.

The Tantric learns to honour the feminine forces of the dark and lingers and pays respect for a while, as she trails off into the shadows.

Some of the folk games played by children on Lohri reflect this. In one such play of children, the child is painted black and tied with a rope held by his friends, he asks for Lohri (sweets) in a sing sing type of way at the doors of his neighbors. If they do not respond sufficiently the rope that restrains him is loosened by his friends and he enters the house to break things therein!

The symbol 
of the game is explicit, 
the Dark is asking 
for a gift & blessing 
before it can depart 
knowing it has been appreciated, 
& honoured.

The dark gives her gift when she has been honoured. Just like the gift of a child that emerges from the dark womb after a 9 month stretch inside the Mother.

Interestingly, children and newborns are blessed on this day which is believed to carry a great blessing for rising strength.
At the other side of India, in the South, in the same day Bhogi Pandigai is celebrated. It is also a festival of blessing children and lighting fires.

The First Dark Moon

A rarity, 
Lohri occurs this year 
in its original 
Tantric place of power 
upon the Dark Moon.

The first Amvasya (dark Moon), following the winter solstice, sees the time to let go and say farewell to the dark season. It is a time to begin lighting fires for the new uprising guest of expanding days that is upon us as the Moon waxes for the first time in a full round after Solstice. As the Moon rises from the Amvasya she brings with her the season that reflects the sun.

Tantrics work with honour the fire on the ritual day of Lohri. Saying  farewell to the dark and welcoming the light. Nuts and seeds are thrown into the fire with prayers, as a way of releasing the old and welcoming the new.  In some regions, old garments and items that hold old energy are put to the flames of rebirth.

The next day after Lohri is marked as a Makar Sankranti or Maghi Sangrand – this is the beginning of the new calendar month, known as as Maghi in the North, and the month of Tai in the Tamil calendar.

Day of the Crocodile

Sankranti or Sangrand is the first day of the month. Makar or Maghi means crocodile. It represents a new astrological force coming into effect and raising the season to one of light and warmth, under the reflection of the first waxing moon of the light half of the year.

Makar Sankranti is a day that recognises that the coldest day has passed, and the heat is building by the growth of the first Moon-round post winter-solstice. Kites are flown, in many regions, this represents the rising new season. In Gujarat, this is a central custom in the festival which is there called Uttarayan. Kites abound in the skies at this time, though the custom still exists, it has declined in recent decades as the hand of modernity sweeps across ancient customs. In the South, Sankranti Makar corresponds to the festival of Surya or Tai Pongal, many of the ritualistic customs are similar to those of the North, even down to the dishes that are cooked. 

Pongal is widely celebrated by the Tamil people – the Southernmost state of India.

Makar Sankranti traditionally begins with a morning dip at sunrise in a river, even when the temperatures are freezing. This is a symbolic and magical gesture of cooling the body and spirit for the heat of Surya (sun) that is rising with the coming Month. The day of Makar Sankranti marks the beginning of Uttarayanna – this is when the sun enters the 10th zodiac house of Makara.

corresponds to 
the western Capricorn sign,
& is symbolised 
by a Crocodile. 

Makar Sankranti indeed derives its name from Makara, the crocodile constellation. The dip in a river in the early Morning on this day that brings with it a new rising astrological cycle is a way of honouring the Crocodile energy. 

The Goddess Ganga (as in the river Ganges) rides upon the crocodile Makara, as does the God Varuna, the deity of the seas. The cooling blessings of the water element are sought as the moon raises the tide for the first time post-solstice at the beginning of the season of building heat. The energies of water and fire come together at this sacred festival time. 

The fire is lit at sunset on Lohri and burns till sunrise when the water dip is traditionally taken.

Keeping the Spirit Alive 

As modernity has set in and altered the structures of living, the celebration has started to decline from a form of ritual worship into a public holiday even within rural communities over the last decades.

Sacred days often can be lost and turned into commercial festivities where the aspect of ritual is removed from its central position. Alternatively religious or cultural dogma can pervade such festivities, until the essence and power of the ritual day is obscured.

Tantrics are those who keep the sacred rituals and their significance alive by imbuing them with life force and Tapasya (spiritual effort) 

If the sacred days are understood as portals, to be worked with and honoured in a ritualistic manner, then the chance of taking them for granted as mere customs, or dismissing them as superstitions is safeguarded.

In Defence of Magic

reveals how modernity 
can swallow magic 
and erode powerful 
necessary rights of passage, 
necessary if we are to align 
to the Wisdom of Nature.

The festival of Lohri has much to show us, if we reflect upon the light it sheds carefully (Lohri literally means enlightening).  Lohri reveals how powerful rituals and customs bring people together in communal prayer and blessing. This is the very essence of Tantric ritual.

Lohri reveals how the solar light-oriented face of civilisation does not give honour to the balance of nature’s two ever-present, mutually informing and empowering forces of dark & light.

Lohri reveals that the deepest wisdom, which is the Wisdom of Nature, can easily be glanced at sideways as primitive by the patriarchal eyes of orthodoxy.

And what Lohri perhaps most importantly can reveal to us is to align our currents to what nature is telling and showing us, and not push the guest out of the house before thanking them for the gift of their presence. For in doing so we banish magic from our lives.

If you would like to join the ritual,

Bhairav Astami

January 3, 2021

How We Waste our Lives Away

’But down in the underground
You’ll find someone true.
Down in the underground
a land serene,
a crystal moon.
Oh, It’s only forever.
Not long at all’’

Underground | D. Bowie


Kaal Astami is a time
in which to study
the deep dark layers of oneself,
shedding the outer layers
like a snake,
to reach the mysteries
beyond the threshold of time.

Time is indeed of the essence. It may contain the essence itself, but our time can be something devoid of magic. It then becomes something to waste away when it is barren of Moonlit Magic. Some of the modern rituals we repeat daily are worth our investigation. If something is repeatedly done with our concentration then it becomes a ritual.

can both entrap
and liberate.

Kaal Bhairav ritual-worship has the potential to show us the most obvious – yet easily unseen – things of what we are doing with time. Or perhaps what time is doing with us…     When we align to the deep slow realm of Bhairav, he guides us into the invisible line between life and death, beyond the threshold of creation and destruction. Life and time, creation and death, all hold hands in the realm of a Kaal Bhairav.  

Kaal Bhairav
teaches the Wisdom of Death.
He shows us that
the creative spiritual impulse
is not free of Death,
for Creation without Death
is Stagnation.

Bhairav is a deep friend, liberator and protector, if he is approached in honour.
He holds the Danda, the stick of power. Dandapatti means the friend of ‘the stick’, or ‘the friend with the stick’.
It is the magic wand of the Wizard and broomstick of the Witch. It is the spine that flows with the dance of circuitry in the currents of life and death. It is the stick within grasp when we study the mysteries of Bhairav.

It is the stick
that carries the soul
across the portals
of life and death.

The stick is called Kankala Danda, literally the ‘skeleton stick’.
The stick of Bhairav gives the protection of courage to go under the surface of skin and flesh, right to the very bone of our lives. Bhairav asks us ‘are we here to live or are we here to die?’



For this ritual you will require a stick of power. You may use a broom, or any stick you find. You may go out into nature on a magical quest and find one – or let it find you.
You might even be surprised and realise that you already possess one. Whether your stick is a broom, a wooden spoon or a crafted wand, have your Danda close to hand for this ritual.

On this ritual night, we will continue to work deeper with the Kankala Danda (skeleton stick mudras) which we begun in December to further explore the connection between life and death, and the ways in which we may be wasting our lives away.

The stick of power that Bhairav carries represents the measurement of time, it is topped by a skull that signifies the mystery beyond time.

The antar Kankala mudras
(inner skeleton practice)
are powerful in revealing
hidden magical realms.

Because Kaal Bhairav is obstinate, tenacious, terrifying and immovable by his laws, he helps reveal where we are obstinate, tenacious and immovable to his laws of Time and Death in our lives.

As well as teaching us
how to life,
Bhairav equally teaches us
how to die.

Many may be consumed with the issue of  ‘how to live’, but the tantric equally concerns themselves with ‘how to die’.

Bhairav can show us
the lessons we are not learning
and having to repeat
for lifetimes long.

  Hara Ring
To join the Ritual.



December 28, 2020

Creative Beauty or Destructive Creation

30th December | Full Moon

The days are lengthening
The solstice is passed
The nights recede by a sunlit mast
The first full moon of the rising year
Belongs to Bhairavi, who on this day is here.


Bhairavi means the fierce one. Her beautiful face shines fiercely with the brilliance of 1000 suns, she wears a necklace of fresh severed heads, and the moon is on her forehead.

The sight of Bhairavi can be an ugly, frightening one. What starts beautifully can start to creep slowly if we lose honour of Bhairavi. Her lesson is about honouring the dark feminine power.The yogi watches carefully how they approach Bhairavi.

She uses if she is used,
she honours if she is honoured.
She is the mirror
of how we treat our life power.

Bhairavi is the fire that consumes, she incites power and passion, her destructive fire ingests creation in its flames. She is the continual destroyer of the three worlds (Earhtly, Conscious & the subconscious), for this she is called Tripura Bhairavi (“fierce in the 3 worlds”).

Her burning destruction allows for creation to take place. Necessary is destruction if creation is to go on.
Just like her lover Bhairav, Bhairavi is ever present, she is the fire that consumes our lives until death less than the shadow of ash.

Psychic Clouds
in our Inner Skyes

Bhairavi is the grand paradox.

She is beautiful and enchanting. Her beauty excites and calls out our life force as we serve that to which we are drawn.
But Bhaiiravi is also known as Kotraksi, which means the one with deep set sunken dark eyes. The more of our power we give away, the deeper we fall into her dark eyes, and the more ghostly her form becomes.

Bhairavi Jayanti Puja
is the study of that which
we give our power to.

We see this now as the solar fire in nature grows with the lengthening of days grows, previously nourished by the darkening season.
The night of Bhairavi is the time to study where we are giving our power, and where perhaps we are wasting our power by feeding corpses.

This Purnima (full Moon) is the first one of the rising half of the natural year, with its now lengthening days after having crossed the threshold of the solstice.
Bhairavi sits on a corpse as her vehicle, called the Savasan in Tantra.
The corpse does not move and neither does Bhairavi. But we move towards them. The more we waste our Shakti, the uglier and more fierce she becomes.

This is why she is the drinker of blood.

In this life we have to give our energy and life blood, living and loving requires the investment of Shakti, we have to make focussed effort to live, but sometimes it is not focussed, but obscured by psychic clouds.

Bhairavi is the one
who reveals the psychic clouds
in the skies our soul.

Bhairavi is the force that requires focus to face, she requires our involvement and relationship. She is the force of living and dying which both go hand in hand. 

It might seem easier to feed our power to a dead corpse than to Bhairavi who is the most exacting woman of all.

Bhairavi can be displeased easily, but the corpse will never complain, we can turn away from Bhairavi and complain into the ears of a corpse, but Bhairavi grows more frightening and ugly as we waste our energies on dead things.

In Frustration there is power

This might sound abstract, but simply spoken, this is what we do when we don’t use our energies well. For example, Complaining is something we might take for normal and necessary. It is easy to discover an injustice, if we look for it.

With our acquaintances, we might make coffee meetings with the intention of releasing frustration through unloading by complaint. The complaint might stand in the light of absolute justice and we might believe it absolutely necessary to speak it out.

Rather than internalising the power inherent in the frustration, we release it prematurely when complaint and being against something is not internalised but externalised habitually.

When we open
& start to touch & hold
the powers that frustrate
we prepare for Bhairavi.

It is prepared by facing deeply the origin feelings that are created within us, and not all too easily turn to complaint as an outlet.

These days there are many more ways of complaint perhaps available as technology seems to broaden the horizons of expression.

The practice of Bhairavi Jayanti is a subtle inner ritualistic work that honours the birth of the growing half of the year of lengthening days, with this first full moon in the bright half of the year we ritually come forward to the study of the habits and familiar ways we might be wasting our life force. Facing the gaze of Bhairavi with honour  on the other hand, requires us to harness our life force. A volcano builds its fiery forces in the dark, it follows the path of knowing when to restrain, sometimes it’s destructive explosions give birth to the new by destroying the old. Yet…

… to be like an ever emitting volcano,
leaving no power in the base
is the path of feeding the corpse.

On this night, Tantric’s have timelessly gathered in a circle of power. Together they have ritualised with the blessing of nature’s currents and practiced Antar Bhairavi Mudra in concentrated puja (ritual).

Bhairavi Mudra
is the deep investigation
of the harnessing, usage & wastage
of our life force.

Agni & Tejas in the 3 Worlds

Bhairavi is the opposite of Lalita, the second of the Mahavidyas.
Lalita Jayanti follows on February the 27th, on the Full Moon.
Both Goddesses have the prefix Tripuri (the three worlds) before their names.

Bhairavi is the consuming fire of Agni, and Lalita is the cooling fire of Tejas.
Tripuri Bhairavi is the consuming Agni fire of the three worlds, and Tripuri Lalita is the cooling Tejas fire in the three worlds.

When Agni and Tejas are in balance, they brew Soma, the psycho physical compound of spiritual insight.
The fires exist in the 3 worlds, that is, in the subconscious underworld, in the world of celestial awareness above and in the middle plane of the earth in between.
We live, move and have our being in these 3 realms. 

The study and balance
of the hot and cooling fires
in our threefold world
is a focus of the Tantric practitioner.

If the psychic fire within us is hot and emphasis is on the Agni, then the body will be heated and the breath and heart burning. If the psychic fire within us is focussed on Tejas (the cooling fire) the body will be cool with heart and breath rhythmical.

The fires must be balanced in the right measure to create Soma.

The movements of nature and the moon intersect with these two fires which are ever moving and reflecting the currents of atmospheric and lunar energy.

The balance of the two fires is the ever moving Yogic pursuit.

When Agni does not overly consume, then the solar plexus fire recedes from it’s all too often seat of dominance. Balance is then established and the cool fire of Tejas burns in the soma chakra and creates the psychic elixir of Soma in the 3 worlds that we inhabit.

The Soma chakra
is the other polarity of the solar plexus
and brews the downward glowing moon fire
from above.

The mantras for Soma and Agni are balanced in Tantra.

For example, the Mantras of Bhairavi exist as three syllables which are the 3 tips of the downward facing triangle at the base of our being. This triangle is her primal Yantra (symbolic and sound form).

Bhairavi’s heating mantras are the bijas (seed syllables) that activate the fire of the 3 worlds, one for the physical, one for the unconscious, and one for the celestial awareness. 

The 3 Bija mantras of Lalita on the other hand are cooling in nature, the mantras are combined in the right measure, and this measure is ever changing, just as the Moon is. Tripuri Bhairavi and Tripuri Lalita, together teach us about the destructive fire and the creative fire respectively.

They reveal to us how both the creative and destructive fires of our destiny are ignited.

If you would like to join our ceremony


December 18, 2020

The Womb of Creation

Monday 21 December

A big planetary
rotation of forces
occurs on Winter Solstice,
as the longest night
of the year
takes us to the very depth
of outer darkness.
This extended darkness
of the macrocosm
is mirrored
in our inner microcosm,
as we are but a reflection
of nature.

– Boonath

Dear Friends of the Healing Circle of Shadow & Light,

The longest night of the year is upon us.
Winter Solstice presents a polarity shift in the three worlds, that is the earthly, the lunar, and the underworld.

This holds true in both a physical and spiritual sense. The physical energies in our body are expressed in the three metals of Silver, Gold and Iron. These elements intersect with our spiritual being and influence us deeply.

The Solstice is such a day of potent physical and spiritual influence, tantrics recognise this and timelessly work with and harness such cosmic waves in the context of healing ritual.

Moon, Sun & the Black planet
Shuni (Saturn)
are expressed in the metals
silver, gold and iron.

On the morning following the winter Solstice, the rising light will melt the cycle that we have been in and the solar force will lengthen the days in the endless cycle of Death, Life and Mystery.
In the language of Tantra, Silver is lunar, Gold is solar and Iron is Saturnian darkness.

The balance
of these ever moving
three elements
is the Tantric pursuit.

The right measure of each, opens doorways within and without and creates magic.
Upon cosmic events such as the Solstice, Silver, Gold and Iron meet upon the year’s longest night and a transform of relationship between them and us takes place.
The structures of one’s Soul can be glimpsed within such polarity-shifting times under the guidance of the Tantric goddess Kali.


The Womb is the Temple

The deep shadows that obscure her face are glanced and glared into, upon this ritual tantric night of Kali Puja, that is, the night of the Dark Goddess.
Tantrics reveal that the shadows of the womb are most accessible upon this night most Tantric.

Kali Mandir
is the Tantric name
for the Womb.

It translates as the temple of the dark goddess.
Kala is time, but Kali is that which takes away time. This is revealed in the Tantric image of Kali Dancing upon the body of Shiva. Shiva lays there with phallus erect, receiving the life giving currents of the One who destroys time. That one is Kali Ma, the Dark mother.

The child in the womb lives in the timeless realm. The Child’s birth is a death out of timelessness into the realm of time. This realm of time is the realm of Kala. It is the realm of time and space, the realm of cause and effect, in which we live and die.


The Traumas of the Womb

Kali Puja is a night when the axis shifts and the days start to lengthen, it is a death of the dark season and a first birth of the light. Kali is most powerful on this night of witchery just before, when her night is the longest we will know in the year.

The darkness
creates a portal
that draws the spirits near
and offers a chance of healing
deep ancestral Karmas
related to the womb.
The womb being
the one that birthed
the whole enterprise.

The womb refers to the Shakti area of creation in both Woman and Man.
This long night has a very deep energy that can be observed by listening to the currents of energy. It is a night as deep as the womb of Kali Ma, the womb from whence we came and to which we will return.
Tantrics have followed these junctions since time immemorial and aligned themselves in concentrated ritual to the currents of nature.

We will follow suit
and partake of many
a dark mudra and mantra
on this night of Ceremony
to the Dark mother herself.

Practices of working with the womb are central to this night. What more can be said other than that it is a deep place, indeed the deepest cave of all creation.


December 8, 2020


MONDAY 14th December

This will be the last dark Moon of the year, the dark time when the night will be at its longest.

A further blessing is that this dark Moon falls upon a Monday, Somavhwar, literally the ‘Day of Soma’ – the Moon God. 

If a dark moon falls upon a Somavhwar it is known as the festival of Somavati and it occurs only once or twice a year, bringing forth many Tantric rites. It is an event most conducive for practice and for seeking healing, especially in relation to ancestral work.


The Tabooed Forces of Life

Somavati is a day when water, milk and blood (in the form of wine) are worked with ritualistically.

The wine represents the blood of Kali (the Goddess of Life), the Milk is the juice of Kamakhya (the Goddess of Desire), and the water represents the river of time in the realm of Kala Bhairava (God of Death, which we celebrated last monday).

It is with these divine forces of blood, sex and death that we shall work with on Monday’s ritual in the search for healing our relationship to Life, Pleasure and Surrender, which are often infused with patters and Shadows we struggle to understand in our daily lives.


The Spirits come to Heal

The coming Dark Moon is the last one embedded within the darkening half year of lengthening nights, upon this we have a solar eclipse, known to Tantrics as a Surya Grah.

Spiritual practices on eclipses 
are intensified 100 fold, 
it is said in Tantra.
It is a time when consciousness 
is overshadowed 
& the application of our psychic will
proves the strength of Soul.
The spirits are close 
to the earth plane on eclipses 
& much healing 
with the world of spirit 
can be set in motion.

Traditionally it is a time when our ancestors would stay inside and not venture outside. Mundane activities would be left to rest and one would rather take to spiritual focus in times of eclipse.

These things are slowly being forgotten and classified as a mere superstition by Modernity which overshadows spiritual wisdom.

By being sensitive to our inner currents of feeling, we come to see the spiritual dimension of our being, which the eye of civilisation has been trained to overlook.

The Moon  under the rulership of Soma, relates to fluidity and flow of life force.

In Tantra, Soma refers to the Moon and carries several connotations.


The Moon’s Healing Fluid

Soma refers to the sacred 
& Healing Moon fluid. 
It is a subtle 
psycho/physical compound 
that is the essence of Tejas 
– the cool fire 
of psychic & spiritual power.

The opposite of Tejas is the hot fire of Agni.
Tantra is concerned with bringing both the cooling and the heating fires into a balanced dance with each other.

Soma vivifies and creates, whereas Agni consumes and destroys. Both of these fires are needed in the correct proportions in the constituents of our body and spirit. A balance of these forces is required to open the subtle portals of awareness. 

An abundance of Agni fire in our psycho/physical mechanism is the ill of modern times. The overemphasis of Agni not only consumes the finer currents of awareness but creates stress in the system and ages the body.

Soma on the other hand is the juice of eternal youth – you may enjoy reading a previous post, The Forgotten Jewel of Tantra, which goes in more details about the qualities of Soma.

Some forms of Shakti consume Soma and some forms of Shakti vivify the Soma fluid of the Moon within us. Heating pursuits and emotions, extroversion and over activity consume Soma.

Introversion, rest and slowing down the currents of being are what nurture Soma. Noise and speech create Agni, which is hot and active. Silence and stillness create Soma, which is brewed in passivity.

Passivity is a quality 
that might have disappeared 
from our lives 
& considered a sign 
of weakness of illness even. 
In Tantra it is sought 
like a rare jewel.

Passivity is a secret Moon-type state of consciousness that the Yogis venture to know in the midst of the fires and actions of life.
The Yogis prize Soma and are cautious and careful to nurture, cultivate and preserve it. Soma is psychic power.

Soma is the cool healing fire that melts the obstructions in the way of our Shakti life energy. The cool fire of Soma is not as obvious as the active expression of Agni.

Soma lives internally and signifies and is experienced as a magical inner life.. .perhaps even independent of external factors. The introverted fire of Soma is an internal glow that gives one strength of focus and ‘awake-ness’ upon the astral levels.


The Fire of (Self-)Destruction

In present times 
Agni burns strong 
& stands in a predominant place. 
This is most visible 
in the magnitude of destruction 
on a planetary scale, 
through wars, 
violence towards all forms of life, 
& even in the warming of the atmosphere. 
There is too much heat 
in the system.

This calls for the cultivation of Soma, which must become a priority both individually and collectively if we wish to shift the balance back to a state of harmony.

To give strength to the God of softness and simplicity that Soma is. Soma is cultivated in simplifying our lives. Somnath is one of the names which Shiva goes by, for he is the eternal Yogi who wears the moon in his hair.

Somnath lives in the spirit of all souls who tread the path of shining in the dark.  The path of the Magic Moonlight. Like the moon that shines brightly in the night sky, Soma is cultivated in the dark.

The practice of Kechari Mudra has several preparatory steps, it is initiated and practiced when the Soma Moon is at its strongest.

is a secret science of Mudra 
that activates points of energy 
in the system 
that releases Soma 
in the form of a hormonal substance 
that creates profound 
softness & trance.


Honouring the Ancestors

The day of Somavati happens rarely, one or twice yearly when a dark Moon falls on a Monday, it is a strong ritualistic time, when it is combined with an eclipse it is made more profound, a most rare occurrence it be.

It is a time to give homage 
to the deceased ancestors. 
To perform Shraddh 
(psychic ritualistic offerings) 
this is to bless & heal 
the spirits of one’s dead ancestors. 

To assist in earthbound elements that can affect us in the Astral world, tantrics call this effect the Pitru Dosha. Somavati is a sacred ritual time of liberating Pitru Dosha. The new Moon sequence of Chandra Parampara supports this and is ritualistically practiced by the tantrics at this Moon junction.

Chandra Parampara is the Yog sequence of practice that among all the practices of Yog. It creates the greatest softening and flexibility in the organism, both psychicaly and physically.
Prayer and ritual under the Soma Moon is a time of opening body and soul towards the deepest levels of softness.

Simplification is the way to Soma… and the way of Soma.

We shall work with the three liquids that make up Soma. They equal Soma if they are balanced in equal equations.
Blood, Milk and Water shall lay upon the altar on this a Dark Moon night – the Darkest Moon of the Year.

You would be most welcome to join the Online Ritual
on Monday 14th of December

Maha Kaal Bhairav Jayanti

December 7, 2020

To Face One’s Own Death
Descending Half Moon Ritual

“Oh Bhairav,
Ruler of the North,
You who are the House of Death,
And the Death itself,
You who are Time,
Teach us the secrets of Fear and Devotion,
Maha Kaal Siddhi be yours to teach,
The magical secret beyond time.”


Monday the 7th of December is the Descending Half Moon. This is known to Tantrics as the annual day of Maha Kaal BhairavJayanti, the ‘birthday’ (Jayanti) of Kaal Bhairav, the Tantric deity of darkness and fear. The 8th night of lunar waning every month is Sacred to Bhairav, the darkest form of Shiva.
The 8h descending lunar night is known as Bhairav Astami. Or Kaal Astami.
Kaal means time, Astami means the eighth. The last Bhairav Astami of the dark half of the year is the most sacred one and is Bhairav Jayanti, which is why it is considered Bhairav’s ‘birthday’ (Jayanti).

Kaal Bhairav represents Time and Death. In fact,  Kaal means ‘dark’. He is represented as the Crow master who rides upon the Black Dog. Crows and black dogs belong to his realm and are the messengers of his secrets.
Kaal Bhairav is the heavy and slow planet Saturn. The Planet Saturn is highly active upon the inner astral plane in the Northernmost hemisphere at this time of the year.
This night of Bhairav is sandwiched right between the last Full and Dark Moons of the Darkest Season of the year, when the length of the nights are at their peak and Tantrics spend time investigating the dark layers of their being.


Of the Soul

In the ritualistic circle of Tantra this is a time in which to study the deep dark layers of oneself, peeling away the outer layers like an onion to reach the sometimes tear-inducing taboos of the nether-regions.  

Subjects such as death,
fear and time are approached
in this ritualistic night.

Time is of the essence and our time can be something devoid of magic. It then becomes something to waste away when it is barren of moonlit magic.
Some of the modern rituals we repeat are worth our investigation. If something is repeatedly done with our concentration then it becomes a ritual.
Rituals can both entrap and liberate.
Kaal Bhairav ritual-worship has the potential to show us the most obvious yet easily unseen things of what we are doing with time – or perhaps what time is doing with us.


We find Devotion

Bhairav is the ultimate destroyer.
The story tells that it was he who beheaded even the creator. Bhairav suffered for it, yes, whereas the creator found liberation.

This night’s ritual follows the narrative of the subtle tale of Bhairav’s journey to the North. It is a subtle tale that encompases the deepest and darkest corners of the soul, not to mention the most destructive aspects.

The story tells that, after Kaal Bhairav beheaded the creator, he could not get free of what he had done. Destruction and creation literally stuck together, as the head of the creator stuck to Bhairav’s hand and rotted putridly for aeons upon aeons. In the end Bhairav finally crossed the invisible line between life and death and traversed the threshold of creation and of destruction.

This story points to an inner reality that is to be meditated on.
Life and time, creation and death, all hold hands in the fear-inducing realm of a Kaal Bhairav.

Within Tantra
the Bhairav ritual & practices
are highly secretive.
They are to be proceeded with caution,
for they arouse
our deepest & darkest
innermost fears.

Raising fear carries a great healing power if one works with the raised material in the landscape of the soul.
The various names of Kaal Bhairava are powerful Mantras that move repressed fears in us.
The freedom of finding and facing repressed fears, frees us from agitation as there is nothing to move away from, this works like a mirror, there is then also nothing to move towards either.
The place of Yogic power comes in this inner constellation.
Drive dies and spirit power takes its place.

The creative spiritual impulse
is not free of death,
for creativity without death
is stagnation.


The Direction of the Spirit

Bhairav is the ruler of the North.
North flowing rivers take the spirit out of the body, the dead are placed to the North in Tantric wisdom.
The liberated spirit goes North beyond the grip of the illusions of the astral plane.
Bhairav is the God of Kashi (today renamed ‘Varanasi’), the sacred city of death in the North. The place in India where the Ganga river flows North. It is a region of the astral-plane alike.

is therefore a deep friend,
liberator and protector,
if he is approached in honour.

He holds the Danda, the stick of power he gained after aeons of pondering the dead creator’s head in his hand.
For this Bhairav is called Dandapaani, ‘the one who carries the stick of power’.
It is the magic wand of the Wizard and Witch.
It is the spine that flows with the dance of circuitry in the currents of life and death.
It is the stick within grasp when we study the mysteries of Bhairav.
It is the stick that carries the soul across the portals of life and death.
The stick is called Kankala Danda, literally the ‘skeleton stick’.
The stick of Bhairav gives the protection of courage to go under the surface of skin and flesh, right to the very bone of the matters that weigh most upon us.
Bhairav asks us ‘are we here to live or are we here to die?’

This practice
is a most northward pursuit
in which one works
with one’s death.
It works with
the time one has
…and the time
one does not have.


Investigating Death

On the occasion of the yearly Bhairav Jayanti, the Tantric practitioner tunes to the celestial and atmospheric waves of nature and harnesses the flood of the spirit.

The Tantric
comes to know that destruction
is the other hand of creation,
both go together in the cyclic dance
of death & life.
Both destruction & creation
go hand in hand.

In this ritual we might chant his 64 names if we come that far.
By tradition, his Bija mantra is never written, but it will be uttered in this dark night’s ritual.

His mudras are Maha Kaal Asan and Kashi Mudra. These physical movements send the spirit North to the world beyond.

Maha Kaal asan takes a step through the three worlds, it reaches skyward, whilst rooting deeply, and requires the focus of the middle realm that we inhabit. This Mudra teaches us slowly of the walk – called life – we take through the triple realm of our being (which we began to explore last Monday on the first part of this new 4-part series – read about the myth of Shiva destroying the three worlds of illusion on our blog).

The inner and outer Danda mudras are practiced, including the antar Kankala mudra (the inner skeleton practice)…

… a dark practice
of calling upon one’s death,
not suitable for the faint hearted
or the spiritual consumerist
and sensationalist.

Tantra may have become sensationalised as pleasure and spiritual indulgence, easy to buy into in the modern era.
But the old-school rules of Kaal Bhairav are within the timeless laws of pain and pleasure: the two go together.

Under Kaal Bhairav’s  jurisdiction,
the taboo – even unto ourselves –
is approached on the ritual
of his birthday night.

He is Time, he is Death, he is obstinate, tenacious, terrifying and immovable by his laws. He can reveal where we are obstinate, tenacious and immovable to his laws of Time and Death.
He can show us how to die, many may be consumed with the issue of  ‘how to live’, but the tantric equally concerns themselves with ‘how to die’.

He can show us the lessons we are not learning and having to repeat for lifetimes long.
But he demands that we have courage to face our pain as well as our pleasure, for pleasure alone does not fill the cup in his realm.
Just like Shuni (the planet Saturn) that he is, Kaal Bhairav, takes us beyond and far behind the limits of darkness, death and time, he is heavy and slow and gives depth to the soul who dares to meet his gaze, the soul who dares to face themselves in the dark finds a deep friend.

We hope you will choose to join us forthis ritual and
venture together on this journey into one of the darkest
themes in Tantra.


– Boonath & Kim


November 28, 2020

& the Myth of Tripurari Purnima

Deva Diwali is the rejoicing in the spiritual world of the awareness of Shiva to cast the arrow of aware vision upon the blind Karmas of both the Matriarch and the Patriarch. These Karmas are revealed by the force of planetary currents upon the astral plane on Deva Diwali.

Deva Diwali is the Diwali of the Spirit World.
Tripurari Purnima is the full moon of Shiva in his form known as Tripurara. 

Tripurantaka is the destroyer of the three worlds. Tripurari (Triparuri are the three worlds) Shiva’s arrow-like vision destroys them.

In the Tantric year, this is the second most important ritual day that is dedicated to Shiva. The main one being the Shivaratri, which translates as the night of Shiva.

Tripurara is a name of Shiva. It means the lord of the three worlds.

Pura signifies a land or a place. The forehead marking upon Shiva is the three lines that denote the three realms.

What are the three worlds and how do they relate to this Full Mooned night?

Svarga, is the spirit world, Patala, is the underworld of the unconscious, and Bhumi, is the earth plane where the two worlds meet.

These worlds are symbolised by 3 terrestrial metals.
Patala is related to the heaviest metal of Iron, The lightest is Silver in the mysterious and unseen lunar world of Svarga, Gold is the weight in between, twice as heavy as silver, it is the metal of the revealed world, illuminated by the golden sun in the daylight, it is the earthly plane of seen things, known in Tantra as the realm of Bhumi


The story goes that there were three Asuras. These three brothers wished to dominate creation. Collectively they are known as Tripasura, the three.

They had got so powerful by worshiping Shiva and emulating the magical arts of Shiva himself.

Asura is often translated as Demon, this may have very many connotations to call them such. 

The Asuras are spirit beings who are overshadowed by unconscious shadows which lead them in destructive ways. 

The three Asura brothers were the Sons of the mighty demon Tarakasur who represents the destructive side of the sexual chakra. Tarakasur fathered 3 rapscallious sons named Vidyunmaali, Kamalaaksha, and Taarakaaksha.

The father had already met his fate at the hands of Shiva’s son, the world-famous elephant god Ganesha. 

The father was himself a powerful Yogi gone wrong. He had not completed his yogic austerity, but had prematurely gained power by a gamble. The gamble of premature power was given on condition that he could only be killed by Shiva’s son.

Knowing that Shiva was a Yogi far out of reach of the world and of family life, the wicked Tarakasur took the gamble of power. Once drunk on his power, he started to dominate unjustly with his newly acquired and seemingly unstoppable power. 

Little did he know that Shakti was to entice the mighty renunciant Shiva and bear a child with him. And so Tarakasur met his fate as had been ordained.

Vidyunmaali. Kamalaaksha, and Taarakaaksha represent the hidden karmas of the active masculine and passive femmine.

They represent the Moon, the Sun and Shuni (the planet Saturn). Shuni is he who raises Karma and that which has not been seen but must be faced.

The brothers, although devotees of Shiva, bore a grudge in their hearts that their father had not been as great as Shiva and had met his demise on account of Shiva’s son. 

The grudge that the brothers held against Shiva was to poison their hearts and cause their ruin.

The grudge they held represents the unresolved Karma with which they are synonymous.


The Three brothers and their endless magical concentrations and yogic austerities bore results after continued devotion. 

So much so that they won the favour of the creator. They were offered wishes for anything they so desired. 

Now, the 3 yogic brothers were so highly jealous of Shiva, who lived in the uppermost heights upon the sacred mountain, that they wished for their own heights and so wished for flying cities in the sky that would float above the abode of Shiva, 

The three brothers believed that if they elevated themselves higher than the unfathomable heights of Shiva then they would be greater than he.

The first brother asked for his flying city in the sky to be made of gold.
The second brother wished his flying city in the sky to be made of Silver.
The third brother wished for his flying city in the sky to be made of Lead.

The architect Mayasur was the one who built the cities in the sky for the 3 arrogant brothers. Mayasur was the great Architectural King responsible for building the destructive panels of life. It was he who built and gave his name to the legendary hall of illusionary mirrors known as Mayasabha.

The three brothers conspired to align the cities with the weight of the heaviest metal behind. It took a whole year before they could manage to form an exact alignment.

When they finally did, they conspired to ram full blast onto the sacred mountain upon which Shiva eternally meditates. 

They planned to smash the mountain to dust, and along with it, the great Shiva.

And so on the day in question, which falls upon Deva Diwali of the last Full Moon of the darkest part of the year, there is an astral alignment of destructive spiritual forces.

In Tantric science the metal of the Moon is Silver, the metal of the Sun is Gold, and the metal of Shuni (Saturn) is Iron. 

At the first place the three brothers put the silver flying city, in second place they put the golden flying city, and behind they placed the Iron city.

Silver is half the weight of pure gold, so they thought that if the silver should not do the job the gold would, and failing that the iron which is equal in weight to both silver and gold combined would certainly smash the sacred mountain.

Shuni is the planet that raises the deep unconscious imprints and most hidden karmas.

When Saturn is behind the Moon and the Sun, he reveals the hidden shadow sides of these two planets. These are the receptive Lunar and the active Solar shadows we are talking of. The unresolved sides are brought to the surface upon the spiritual plane. This occurs on the night of Deva Diwali and is revealed in sacred ritual.


At the moment of exact alignment after a year of trying to synchronise they blasted the mountain at lightning speed.

In terminal velocity they broke through space and time, sound and vision barriers were transgressed.

But the Tripasura had underestimated Shiva, the master of Yog! 

In speed beyond light and thought, Shiva saw what was going on and summoned Vishwakarman, the architect of the universe and of the creative panels of life.

Shiva asked Vishwakarman for an arrow to be built that could destroy the 3 cities. It was done as the very thought was manifesting.

The arrow appeared as instantaneously as the speed of thought and Shiv took aim with his bow, known as Pinakka. The arrow rained fiery flames and torrents of water upon the three cities and pierced the arrogant hearts of the three yogis gone astray.

The cities rose in flames and Shiv danced the Tripura Nasha Tandava upon them, (that is the ‘vision of the three worlds’ dance). These are three distinct yogic dances that relate to Silver (light) Gold (middle) and Iron (heavy). They are danced upon this ritual night.

The blazing 3 worlds seemed to turn to dust and they departed beyond the terrestrial hemisphere and disappeared.

From the ashes of the burned bodies of the brothers, shiva drew three lines upon his forehead, one silver, one gold and one black.

[There are other variants of the story where Shiva only gazed upon the cities and they dissolved. Nasha means gaze. Some of the versions of the story tell of other quite charming details. For example, the great snake Vasuki (that Shiva wears as a necklace), was the bowstring, and the war chariot on which he rode for the task was Bhumi, the earth Goddess, and had the Moon and the Sun as its wheels. The deity of the heart was the arrow.]

Tripurantaka became shiva’s name after he destroyed the 3 cities and the Tripasura (the three demonic brothers).

Tripurara also became Shiva’s name, meaning ‘the lord of the three worlds’.
The forehead markings of Shiva bear significance to this story.

The mountainous home of Shiva is referred to as the stable seat of Shiva, Shivasan.

The story reveals how all of us walk in the balance of our mountain, which can be stirred up, or even ground down by the solar and lunar expressions of unconsciousness.

After marking his forehead victoriously, yet without vanity or display, Shiva returned to his Samadhi but was ever very attentive.

At the exact time each year, by planetary alignment upon the astral plane, the three cities in the sky boomerang back – like an echo etched in the fabric of time and space, they returned and attempted to bombard his sacred mountain meditation once again. The yogic power of the three brothers combined had etched itself into the ethers for infinity. 

Shiva takes a whole year to breath one single breath, and between each breath he is vigilant to cast the arrow and blast the cities back into outer orbit. 

The pause between each inhale and exhale is a place of vigilance and concentration where Shiva remains aware of the shadow of the three metal cities of gold, silver and iron.
That is, the heavy underworld Karmas of the feminine and masculine that Shuni (Saturn) dredges up from the unconscious feminine and the masculine poles.

The lunar and solar poles of Silver and Gold are raised once a year on this junction.

An opportunity is afforded to see into the hidden stories encoded in the inner and outer constellations we are living, unconsciously between the feminine and the masculine. 

Upon this yearly junction the three planets are positioned in such a way that they are pushed by Shuni (Saturn) from the rear, and raise the karma’s latent in the masculine solar (gold) and feminine lunar (silver). 

Saturn is the planet that rules the heaviest terrestrial metal that dwells in both the physical and astral body. 

Shuni is the king of the planets for his ability to cast shadowy unconscious darkness upon all and sundry.

The Deva Diwali is the rejoicing in the spiritual world of the awareness of Shiva to cast the arrow of aware vision upon the blind Karmas of both the Matriarch and the Patriarch. These Karmas are revealed by the force of planetary currents upon the astral plane once a year on Deva Diwali.

Deva Diwali 
A Gupt Puja

The planets are physical and affect us physically, but the planets also have realities in the astral world. This night of Deva Diwali is to be remembered to be based upon movements of the inner astral universe. It is after all the Diwali of the spirit world.

Tantra recognises several unorthodox gupt (hidden) festival days, these are in some ways mirrors of earthly planetary events, the Gupt festivals are times of very subtle inner work. More subtle techniques are applied on the Gupt festival days.

For example, the two navaratri (nine nights of Goddess) are times of physical planetary alignment as ritual in Tantra, they also have their inner equivalent of the Gupt Navaratri where more detailed and subtle techniques are practiced as planets on the astral plane work from the inside out as opposed to the outside in. 

Deva Diwali is a secret and inner Diwali that can not be taken for granted. If we do nothing to attempt to look at the Karmas that are pushing us into actions both passive and active, then there is no lamp lighting, there is no rejoicing and the Inner Deva Diwali is nothing we would know as experience. 

Spiritual lamps take much care, huffs and gusts of impulses and cheap escapist moves can extinguish magic flames in an instant.

The Arrow 
between breaths

In the Tantric pantheon of sacred healing practices, every Moon phase has its corresponding practices and mudras.

Shiva’s breath is his bow (Dhanusha) named Pinakka. 

This bow represents the slowly drawn breath, the pause between the breath is the shot of the arrow.

The latent Karmas that live unseen are found between the breaths. When the pause between the breaths is discovered, then the secrets of Pranayam opens up both body and soul.

The backbend in Yog is the essential of melting, it is independent of strength or force but requires a solid foundation from which to fall with gravity. The secret of opening the back bend is in the discovery of the pause between the breaths. 

Deep Karmas are melted both physically and psychically in the back bend. Back bend is Bolo, the soft one. Bolo is a name of Shiva.

When we are over-active and living by the solar principle over the Moon, the relationships to the feminine fall into death and destruction. The pause between the breaths can appear as an empty and lonely place which must be ventured in, if we are to know the magical secrets of the mountainous home of Shiva. Pharbhati, who is the manifestation of Shakti as Shiva’s Lover, literally means ‘the light of the Mountain’. She is the Rose of Shiva, but he called her the Rose of Shakti (listen to our recorded tale about this Tantric Myth on our YouTube Channel).

This night’s ritual practice is very much about discovering that which we move away from in the pauses between the breaths, that which we move towards hangs together in absolute relation to what we move away from.

That which we do not want to see, conditions that which we see.

The Yogi investigates Woman and Man, the Moon and the Sun, the Night and the Day, the Egg and the Seed.

Shiva’s bow shoots the sacred arrow of water and fire, this is silver and gold, this is the Moon and the Sun, this is the female dark (Rajas) blood, and the male white (Bindu) seed.


Shaadee Ardha Chandra Puja

November 21, 2020

It’s coming like the tidal flood
Beneath the lunar sway
Imperial, mysterious
In amorous array.

L. CohenDemocracy.

Shaadee Ardha Chandra Puja is the ritual of the inner marriage.
Shaadee, means marriage. This is the release of the work of the current Moon phase, which we have been working with – through our weekly online classes – under the spell of the Goddess Kamala.
Not much can or should be said about union and marriage.
If marriage is born of true Love it is the completion of a Yog.
Some marriages are born of elements other than Love.
This is a Moon phase that investigates and reveals the face of Love.

Some marriages
are born of elements
other than Love
– the subject of Sunday’s
Half Moon ritual.



A good opportunity is presented to briefly go over the last a Moon phase of Love – irrespective of whether you have taken part in our online gatherings or not. You might have still sensed the subtle influences of these powerful moon stations in various aspects of your life.
It may give a glimpse into the possibilities of Moon Magic.

PURNIMA | 31 October

On the Full Moon, Kamar Purnima, we begun working with the inner Prince energy. Upon this ritual night – in accord with ancient Tantric custom – we took the inner seat of the princess, looking towards the prince on that full Moon night.

In this ritual we worked with the colours of the chakras. Through this practices we investigated the granthis (knots) that obstruct our journey upon the rainbow ladder of the chakras.

The knots and psychic blockades can be revealed to us by concentrated Antar Mudra (inner concentrations).

The Full Moon is the Shakti (power) phase of the Moon. It is a time of bright ritual.

The more Shakti that is generated and stirred up on the Shakti Moon phase, the easier it becomes to then access the deeper hidden layers of our psyche on its opposite station: the Amvasya (Dark Moon) phase.
Amvasya is the bhand (inner) phase that allows us access to the deepest parts of ourselves.

Lets remember that Magic and Ritual follow laws of resonance, reflection and exchange. These are scientific laws of cause and effect, action having its opposite reaction. This be something to ponder upon.

ARDHA CHANDRA | 7 November

The next ritual on the half descending Moon was Thakka Ardha Chandra Puja. Thakka implies the first lovers’ meeting (the meeting of the inner Princess and Prince).
We worked very simply in terms bodily practices in that ritual, with much static asan, storytelling and information about how Ritual and Magic can be approached.

Focus and energy
was placed on inner Mudras,
which are complex
and required much concentration.

We recapitulated every romantic first meeting we encountered in our lives to investigate the extend to which we have come to rely on the familiar landscapes and slogans of contact that structure our unconscious patters.

Such familiar codes of connection are insidious as they close the doorways to broader horizons. Profound concentration and awareness is required in every first encounter if we are to glimpse into new realities and magical avenues of being.

We tested this to the utmost in this Siddha ritual. It’s benefits we then reflected in its opposite Moon phase of the Sukkha Moon (the half ascending lunar phase).

On this night we introduced and started to go into how Moon Magic works, and the great importance, of how magical power ought to be harnessed most effectively and safely when it is aroused.
When one works magically, deeply and in a challenging way upon the Siddha Moon phase (half descending), it opens a door that is reflected back in its opposite at the Sukkha Moon phase (half ascending). It can be translated as a planting and harvesting phase of one’s inner work. A seed is planted and cared for in one phase and the fruits reaped on it’s mirror phase.

AMVASYA | 14 November

On Amvasya, we saw the Dark Moon of Diwali. In this ritual we went briefly into the meaning of why this appears to be the most widely celebrated of all Indian festivals.
Known to the Tantrics as the very Dark Moon, it goes by many names, including Kamala Jayanti, the birth of the Goddess of love, which rules over the current Moon phase and which we are celebrating through these online gatherings.
Diwali is equally the mourning of the loss of the Goddess, for Amvasya meaning the Moonless sky (Dark Moon). It is also known as the night of Kali (for Kali means ‘dark’).
We went into these seeming paradoxes and their relation to the stars through the many tantric myths that tell the story of this major Moon phase (see our blog post) as a way to investigate the true face of the Goddess of Love within us.

The Dark Moon is the Bhand (inner) phase ritual.
It was a sombre reflection back to its Shakti sister of the full Moon. Following magical laws and again working and moving with the resonances of nature’s rhythms.

This was the night
of deep longing,
assisted along by some dynamic
and focused asan,
with particular focus on
the Heart Nadis (energy lines).

The inner mudras were bhand (focussed) on looking for the lost Goddess.
The mythology surrounding Diwali points to this and we talked briefly about how this relates to astro lunar junctions that are presented of this day in the cyclic rhythms of the Moon.

The longing arises from a mysterious place that we attempted to encounter during the practice, learning that the object of longing becoming secondary to the feeling of longing in itself.


When we go attentively and map our consciousness and bodily rhythms, we see how the Moon moves us.
We are under the push and pull of lunar currents.
We can make the tides work for the good of our spirit and our lives, if we acknowledge this lunar force of nature. Resisting these currents only leads to suffering.
We might sometimes stand over nature and heed not her magical currents that we are bound to, but the Tantric branch of Moon Work is a step to restoring the flow of the Nature Goddess, first and foremost within our own Hearts.

To find out more about this major lunar cycle within the Tantric Calendar, check out our post on Kamala and Diwali.

And don’t forget to also check out our online classes which coincide with major Tantra festivals and rituals.

– Kamari Amvasya –

The Loss & Return of the Moon Goddess

On the November Dark Moon
Tantrics study the Ravan within themselves
That is, the part of us that wishes
to impatiently possess the Goddess
before we have won her hand and trust.
It is a night that has been prayed by Tantrics
since the beginning of time
for the return of the Goddess.
We shall meet to mourn her loss,
and celebrate her return
(if we have earned it)


This Saturday, 14th of November, is Kamari Amvasya – also known more generally as Diwali, the festival of lights – without doubt, the biggest celebration in the Indian culture.

Amvasya is the absence of light when the Moon is dark, and Kumari means princess. Kamari Amvasya is the absence of the princess/Moon when she is stolen from the sky.                                                               

This night is the ritual time
when the active seat is taken
by the Kamar (prince) force within us,
which goes searching for Kamari (princess),
who has been swallowed by the dark.

The last Purnima (Full Moon) was the exact opposite, known as Kamar Purnima. When the inner princess went looking for the inner prince. This dark Moon is also celebrated as Kamala Jayanti, Kamala is the Goddess of Love, Jayanti is her birthday, an inner symbolism is there to ponder.

This Amvasya is the second Dark Moon in the very heart of the dark half of the year. The darkest Moon also known as Kali Chand. This ritual dark moon is an important festival in the orthodox tradition, and of great ritual significance to the Tantrics.
The planetary currents pose the challenge and incite the Tapasya (strength) of questing for the lost femmine.

The story of Diwali is a story of Kumari Amvasya, as can be seen upon Moonless reflection. It narrates of how the Goddess Sita is stolen away from her beloved Raam by the clutches of the powerful Yogi Ravan.
When Ravan stole Sita away, Raam – the great Solar power – lost his Moon and darkness and destruction fell upon the Heart.


Ravan was one of the greatest yogis of unbelievable Shakti (power). He was a devout yogi who worshiped Shiva day and night until he acquired the power of Shiva himself.
Having identified so much with Shiva, Ravan himself became the object of his love and admiration.
The Shiv Tandav Strotra is a song that praises the beauty of Shiva as no other song does.
It was written by Ravan as he wept tears of suffering through the realisation of the greatness of Shiva.

Ravan was so determined
to become greater than Shiva
that he lifted the sacred mountain
upon which Shiva himself lived
as an attempt to show how
his individual self
was greater than the infinite mystery.

But Shiva was soon to show him a lesson.
The mountain came crashing down and crushed Ravan’s fingers for infinite aeons of time. Some even say that Ravan wept the Ganges into being as Shiva kept the mountain crushing upon Ravan’s fingers with the weight if his little toe.

Shiva crushed Ravan’s hand
out of Love for his devotee.
To teach Ravan that no one
can be greater than infinity.

Shiva is the great infinity beyond the beyond. The infinity that cannot be owned or assumed by any. An infinity to surrender and die by.

Ravan sang the most admiring verses ever sung towards Shiva as the weight of the mountain of infinity that no one can lift crushed Ravan into the most painful state imaginable.


Despite the strong identification of Ravan with Shiva, Ravan still had one little part left that had not merged with Shiva.
Ravan had an avaricious weakness for beauty.
This avarice was void of grace and honour of the feminine. It was the crude hand of the patriarch that sought to dominate and possess the feminine.
This is what lead to his downfall.

Sita, the cool Moon Goddess
was a mesmerizing and receptive vessel
for Ravan’s powerful burning Shakti.
Ravan could not contain
the Shakti he had acquired.

So he went wild and lost his mind at the thought of the beauty of Sita cooling his burning infernos of manhood.
He therefore abducted the Goddess of the Moon away from her Beloved Raam with deceit and force.

When Ravan stole Sita away Raam – the great Solar power – lost his Moon.
Darkness and destruction then fell upon the world and the Heart. But Ravan had overestimated his power!

The Love between the Goddess & the God
was bound together by the sacred breath, Prana,
known to the Yogis as Hanuman,
their loyal attendant and friend,
the monkey God.

Hanuman is also called Pawan Petra, which means the child of the Wind.
The story tells how Hanuman through the fearlessness evoked by his devotion to his Beloved Sita and Raam, rescued the captive Sita and brought her to her place of balance

The symbolism inherent in the story
reveals how it is the breath
that balances the power of the lovers
within ourselves.

It is the breath that reveals the secrets of Love in the outer world. The breath Heals our relationships, for the breath holds the emotional codes of behavior. The yogis call the psycho/physical energy knots in the breath – the Granthis. Tantra attempts to approach these knots.
The breath can resolve the concurrent Love lives, that we have lived in past, present and future.
Hence, Hanuman Ji is the one who brings the Lovers together.

The story Goes through many twists and turns before the Lovers we’re united by Hunumans devotion.
At one point the story narrates that Hanuman needed to bring a healing herb from the Sacred mountain, he was not able to find it, and So he brought the whole mountain with him.

When Ravan was not able to lift the mountain with all his might, how was it that Hanuman not only lifted the mountain, but flew with it across the land?
Because Hanuman lifted the mountain, in the name of bringing the Lovers together, he had the great blessing.
And, so Sita was brought back to Raam by their loyal attendant, Hanuman the monkey god.
And in bringing Sun and Moon back into balance Hanuman restored Love on Earth.

An endless array of lamps
were lit by humankind
to guide the flying Monkey God Hanuman,
carrying Sita under his arm,
back to Raam.


Hanuman represents Prana, the Breath.
Hanuman restores Love and harmony on Earth by breathing the Moon and the Sun back together and therefore overcoming the destructive forces of the fire of passion that had possessed Ravan to dishonour the feminine. This resulted in the failure of the feminine and the masculine to live and Love in equal measure.

When the Shakti
is mistreated in such a way
that brings imbalance in our system,
we can no longer control her
and destruction (rather than healing)
becomes our fate.

In Tantra Yoga a balance is sought at all times to bring the masculine and the feminine, the Sun and the Moon, the Light and the Darkness, and the Active and the Passive, in perfect balance. Yet, in a world in which the active, male, solar forces are so dominant, more attention needs to be given to the feminine qualities, which is why the Tantrics have been worshipping the Goddess for aeons.

This inner and outer balance between the male and the female is, in a nutshell, the meaning of Hatha Yog – Ha, implying Sun, and Th, the Moon. These are equally designations of Kamari and Kamar. The Kama in both their names is the desire that longs for their opposite nature’s to meet. Hence the Tantrics honour the twilight meeting.

Like a million lamps burning in the darkest night, this is the Tantric night of deep prayer for the feminine.
Might it be prayed with tears?
Might it me prayed with amorous force and desire?
It is a night that has been prayed by Tantrics since the beginning of time for the return of the Goddess.
A chance to move towards the inner princess is offered upon this sacred night.
On this powerful dark night,
We may meet to mourn her loss, and celebrate her return – if we have earned it.

To find out more about about this current lunam phase governed by the Goddess Kamala, read also our posts about Diwali and Shaadee.

And if you would like to experience an authentic tantric ritual, join one of our online classes!

Kamala | Goddess of Love

October 27, 2020

If we are to be truly effective
in the meeting of the sacred heart,
immediate concerns must be addressed
& not avoided by going into extraneous involvements.
This is the grounding of desire.
It is a fortifying and nourishing way
towards the fulfilment of Love.


This Post is part of a longer series which includes the Diwali festival and the Half-Moon Ritual: Shaadee Ardha Chandra Puja.

This Saturday the Tantric calendar celebrates the Full Moon of October dedicated to the Goddess Kamala. The name Kamala contains the work ‘Kama’, which is central to the Month of October. Kama can be translated as ‘Desire’. We find this word in the title of the well-known Indian manual of Love and Desire, ‘The Kamasutra’ – literally, ‘the verses of desire’.

This is the lunar month of Love & Desire.

Grounding Desire

The month of October ushers us into the second Full and New Moons of the darkening half of the year (31 of October and 14 of November respectively). Two is the number of dualities upon the physical and psychic plane.
The number two is the number of the polarity of Love. This Lunar phase explores the dualities and their meeting in great detail. These dualities are expressed as Kumari and Kumar, they are the inner archetypes of the princess (Kumari) and the prince (Kumar). In this dualist world, Kama (desire) becomes the mysterious urge of Nature to unite between dualities.

The Yogi seeks
the secret of nature’s unification
by stopping to oppose her,
and Tantra is the subtle study
of all the places where we oppose nature
within and without ourselves.

Kamala is the Goddess of Love to whom this Lunar cycle is dedicated. It is Kamala who presides over this lunar month. Kama is the God of Desire, the raw principle of desire. Kama is known for shooting his 7 arrows into the seven chakras and cause infatuation and longing.

Tantric wisdom shows us that
grounded desire is nothing but Love.
This is the secret implicit
in the name of the a Goddess of Love:
To whom this lunar month belongs.

The last Bija mantra ‘La’, in the name of Kamala brings grounding to the desire principle. The La grounds desire – La being the Bija (seed) syllable for the Kunda, that is the pot that houses Kundalini Shakti at the root of our body. It is the very base of our being.

Addiction. Obsession.

Ungrounded desire, on the other hand, becomes restless ambition.
It is represented by the archetypal figure of  The Sick King, full of hot air and hope but no Pyar Shakti (Love Power).
We will come to the king very soon in our narrative here.

Ungrounded Desire/Love turns into
addiction, obsession, co-dependence
born of an inner unfulfilled neediness.

Ungrounded Desire plays out in spending our energies in things that have nothing to do with our immediate situation in life and love. Tantric practice concerns itself with the most immediate feelings of the heart, and the nearest matter at hand, that is the best focus for our resources.

If we are to be truly effective
in the meeting of the sacred heart,
immediate concerns
must be addressed & not avoided
by going into extraneous involvements.
This is the grounding of desire.

To ground our desire becomes a fortifying and nourishing way towards the fulfilment of Love.

Princess & Prince

The need of the inner neediness’ is to ground desire. The unfulfilled hunger at its root seeks ‘the grounding of longing’. This is the concentration of spiritual focus. Tantric science is built upon this concentration of our inner force. By grounding the desire within ourselves, the vessel of the self becomes full and rich with life power. This is known in Tantra as Pyar Shakti which, as stated above, translates as ‘the power of Love’.

Chandra Purnima (Full Moon) arrives on the last day of October. She is also known as Kumar Purnima to Tantrics. Purnima translates as full and total.
So this is the Full Moon of Kumar. Kumar means prince, lover, and also bridegroom. In the orthodox celebration of this day many thousands of maidens in India perform worship, fasting and rituals in the hope of welcoming a beautiful lover into their lives.

The Tantric rite upon this full Moon
has been kept since ancient times
as the secret work with the inner prince.

Remember that Tantrics have very detailed rituals for every Moon phase. By making every Moon a sacred day of honour we open our life to magic.
Our time here on earth is but a few steps between life and death, we might involve our heart and mind in many things at the expense of magic.
The Tantrics adhere strictly to the currency of magic.
The Tantrics take the seat of femininity at the Shaktistan chakra in this full Moon ritual of Love.
Shaktistan, as this chakra is known to the Tantrics, translates as the place of the Goddess. It is the second chakra of creation, the seat of Kama (desire).

Kama is grounded in the chakras within this ritual.

The Tantrics on this ritual night identify with the inner Kumari (princess) and rise to meet the Kumar energy of the prince who dwells in the chakras above.
Like a battery circuitry, Shakti is one pole and Shiva is the other pole.
Kumari is the princess Shakti, and Kumar is the princely Shiva.

Queen & King

Rani and Raja are well known designations of royalty.
A Queen or a King, in the mundane sense, have been given this title in India since time immemorial.
The marriage of the inner Kumar (prince) with the inner Kumari (princess) is the inner yogic unification of the battery-like energies of plus and minus in the circuitry of our inner universe.

The inner marriage results in a circuitry
that unites and heals divisions
between our feminine and masculine parts.
This is then reflected in our outer lives.
Resolving things inside resolves issues without.
This is the wisdom at the heart of Tantra.

The meeting of the inner Kumari (princess) and the inner Kumar (prince) gives birth to the Queen and King.

The innocence of the prince and princess within ourselves, when brought together, create the power of Queen and King.
Princess and Prince are the potentialities that are yet to unite.
The Princess and Prince are not yet united in their power as Queen and King.

The unbirthed potential

We must not necessarily think in fairy-tale terms of man and woman, although this is also implied.
The princess and prince archetype spans across designations of gender.
The macho man has a princess within him. He may reject her, he may oppress her, or then again he may honour her with dignity and grace – whatever his inner contact to his inner princess may be, it will be translated to his dealings with princesses in the outside world.

The sentimental flamboyant one, might praise the princess in his thought and action, he may affirm to himself that he curtseys gracefully at her court, when in actuality, he might be drowning her in stifling garments… too rich and weighty to allow her to move in an innocence of being.

The dealings with princesses in ourselves and others may well be in the romantic sphere, whether in a woman or a man.
Both woman and man may also meet the princess in their dealings with the princesses in their children, associates and animals.

A princess is a subtle energy of maidenhood,
she holds a yet un-birthed potential.
One cannot jump over the princess to the Queen.
To meet the princess takes gentleness and grace.

Many might jump to address the Queen, or princesses may prematurely pose as Queens.
This is the path of pretence and disempowerment, it reflects the deep inner impatience that casts the Kumari into the cold before she has the warming mantle of the Queen.
This has disastrous consequences for all.
The self-care and honesty to face oneself as one is, creates nurturing and growing power.
Time and again, the practices of Tantra, show us how impatience, ambition and force do not serve us.

The woman touches her innocence and youth
by taking the seat of Kumari,
the vulnerable place is the place
or rebirth that her seat presents.
Indeed it is the place of power and healing.

By stepping over the magic of vulnerability, we banish love from our lives and move into the energy of the vain Queen that folk tales the world over mention.
The man humbling himself to take the hand of the princess within his own heart becomes gentle.
Rigidities melt aside in a psychic and physical melting of the wax that we are made of.
Melting in the flame of Love, which Tantra whispers of.
Whether we are man or woman in gender, we are both in the spiritual sense.

The study of this Moon phase
is about looking at the state
of our inner princess & our inner prince.
Kumari and Kumar.


The prince within us all is the grand Kumar.
If he assumes the throne of a king prematurely, he will have dominance made of empty power.
The prince who assumes too early the seat of the king rules in sickness and impotence.
His seat may cause others to tremble but this position drinks from him as he uses power that he has not earned.
He will be impatient and violent, bullying the Kumari within into submission.
Of course, she may obey but the prince who’s not won the heart of his inner princess and earned the king’s boots will lose everything and dry up bitterly without Love.

The Tantric studies such things
and inner constellations of energy,
and brings healing salve
to the wounded princess and prince.

The Tantric codes have much wisdom to impart in regard to the multi-faceted connections and interrelated links between princess & prince, queen & king.
The science of Tantric mudras that pertain the these subjects and positions reveals the inner world of our psychic royal court.

The Indian folk tales and written epics, deal greatly with royal archetypes and their connections, sometimes having very intricate plots that span across different lifetimes and parallel universes.
Romantic love goes through the princess and prince.

This work on the Kumar Purnima ritual
is profoundly healing
for our past, present and future encounters
between the princess and prince,
both in an inner sense, and an outer tangible sense
manifest in our relationships.

On Saturday night we shall gather to practice in the age old Tantric ritual. We will work with and honour the spirit of Love on the October’s Full Moon.

We will practice the royal gestures,
both in an inner and outer sense.
to one’s countenance
They bring grace
comprised of physical & psychic gestures.
These are royal mudras
which lead onto the Raj & Rani Mudras.
the Kumar & Kumari Mudras.

The antar (inner mudras) that we shall work with at this time comprise of what is known in Tantric science as Gupt Mani Karana mudras. This translates as the work with the inner jewels, or the secret of the seven jewels (Saptmani).
Gupt means secret, mani is a jewel, and Karana means to do.

On this sacred ritual night
the tantrics do the doings
of the seven secret inner jewels.

The different jewels relate to different planetary energies, as they vibrate in accordance with planetary vibrations. The jewels have relation to the chakras and we will explore this relation as part of this new four-part series rituals dedicated to Kamala

To find out more about this current Moon Phase, read also our posts about Diwali, the festival of lights, and Shaadee Ardha Chandra Puja


October 21, 2020

Conclusion of the Navaratri Festival

“If we are to connect
to the deep nourishing forces
of femininity and nature within and without
we must open our ear to hear her voice.
The voices of patriarchy
may deafen the tone of her wisdom.
The yogini is one who listens
to her mystical song.”

We are currently in the middle of one of the years most important Tantric celebrations: Navaratri, the 9 nights of the Goddess (see our recent post on our Facebook Page for detailed sharings about each goddess night).
This year Navaratri will culminate on the 26th of October, on its concluding night which is dedicated to the goddess Durga and celebrates the victory of the divine feminine.

Victory over what?
And what is it that opposes the feminine?

These answers are not given out cheaply by the Goddess Durga, but must be investigated with ones Heart, if they are to be earned.
She is the great Ugra Devi (Intense Goddess).
She requires intensity of us if we are to approach her gate.

Tantricly, it is the time of victory, when the Feminine prevails over the patriarch. A hint as to the meaning of the ritual is given by the myth of Mahishasura…

The Legend of Mahishasura

The Legend of Mahishasura is where the story starts.

Mahishasura was a powerful yogi who’s powers went to his even more powerful head.
He became powerful through yogic austerities that gave him the power to call forth Bhrama, the creator. He earned a wish by the power of Siddhi.
Mahishasura demanded power and immortality.

He had earned great power and was initiated to something equally great. But Mahishasura overestimated his power. He assumed a greater height that he actually had.
In his self-satisfaction he was not careful in his wish before the creator.
He proudly proclaimed his wish to the creator that no God, Demon, Ghost, man or animal would be able to ever defeat him. He wished for absolute dominion over all of creation.

His wish was granted!

As the creator parted from Mahishasura,
he said: “watch out for a Woman,
you only said no man!”.

Mahishasura, fumbled for words and wished the wish to be rectified but it was too late to go back.
The creator left with a smirk…

Mahishasura did not believe a woman would ever have the power to defeat him.

He had great siddhi and thought he should not worry about it, and rather get busy in playing the new god to the creation that he believed was now in his hands. 

He swam in the sea of self-aggrandisement and got busy in oppressing the beings of the three worlds to satisfy his will. 

The three Worlds are known collectively as Triloka. They are the three worlds of the under, upper and the earth between them.

Mahishasura’s desires were perverse.

The once upon a time most dignified gods were now abjectly oppressed to do his instant bidding. Because of the blessing of the creator Brahma, Mahishasura was unstoppable.
The Gods surrendered and Mahishasura’s hideous guttural laughter could be heard echoing through the three worlds.

The Gods approached Shiva the destroyer who did not wish to be disturbed from his meditation. 
Shiva’s samadhi kept the 3 worlds in order, and he didn’t feel compelled to do anything. They continued to agitate him until he opened his third eye for a second and said: “my wife will sort it out.”

Man and woman alike had been oppressed and made subservient to Mahishasura’s perverse rein of patriarchy. Cruelty and the rape of nature ensued, humans became drones to the mantras that he commanded them to recite.

Mahishasura enjoyed rapturous pleasure and did not keep to his Yog austerities and practices anymore. He grew pleasantly fat with a perpetual soft smile upon his cheeks. Shiva telepathically from his mountain heights asked his wife to go and look into the situation. She set off to meet Mahishasura.

When the beautiful daughter of the mountain king arrived in her innocent apparel, the great Mahishasura had no idea of the extent of her feminine power.

He invited the beauty to drink wine, he had only one thought on his mind that he believed could be accomplished with a click of his fingers.

He thought to himself, why not relax from all this oppressing and terrorising for a moment, and play a game of cat and mouse for a bit?
He thought he was the cat. 
But soon he would learn who really commanded the game…

As he made his advance, he was thrown back with extreme force, his golden goblet dribbled it’s wine like scattered essence.

Never in his life had he been moved by anyone.
He advanced again with more ferocity.

This woman was a match!

Mahishasuras was a shape shifting yogi, and so he shifted through numerous forms to try and subdue to Goddess. The Goddess simply moved with him, matching every move.
He became a Giant, and the Devi became a vast Ugra Devi. He changed from animal to ghost in order to subdue her, but nothing worked!
He tried all the tricks he knew, even appearing as Sundernath, the beautiful form of her husband, nothing could get past this woman!
He tried the old trick of multiplication… as drops of his blood flew around he became many from each droplet. Still, nothing worked.

The great Mahishasura was impressed by such a woman, her power awakened deep perversity in him, he wished to conquer her with his manhood.

He saved his main trick till last, the trick of tricks that could never fail.

Mahishasura, it is to be remembered, derives his name from Buffalo, a creature of huge weight.
Mahish means buffalo and Asura means perverse.
In full blooded arousal he charged to mount the goddess who’s sari had fallen for an instant. 

In the air he changed form from man to buffalo.  Alas, the Trishul (trident) studently appeared from beneath the silken folds of Durga’s sari, bursting Mahishasura’s heart. 

He gazed at her as he took his last breath, bewildered by the fat that a woman had defeated him.

He had not even had the change to shapeshift fully. His naked body splayed over the floor, only his head had turned to that of a Buffalo, his tongue rolled out of his mouth and lopped to the side. The Lion upon which Durga rode, sunk his fangs in, just to be sure!


Durga is the most Ugra of all forms.
When she is angry, all the Urga Devi’s shoot from her third eye.
She is Mother of the World.
She is at once nature and protector of nature.
She is a favourite to the Yogins.
Ambarani is the name of Durga as Queen of all the 3 worlds.

The trident that pierced Mahishasuras heart struck his being in all 3 levels, till not a trace of his oppression over the feminine remained. 

The Goddess festival is concluded upon the defeat of the patriarch by the feminine.
The 9 nights of Navratri reach their climax on this night.
The feminine is victorious.
This Tantric teaching story has many connotations upon which to mediate.
Each Navaratri night has built up to strengthen the feminine principle (see our facebook page for a daily post featuring wirtings about each of the goddesses).

The star forces are there to absorb by those who have quieted the other forces that oppress the voice of the Goddess.
The Goddess who keeps the heartless patriarch in his place is both an inner watcher and an outer necessity in our lives.


If we are to connect to the deep nourishing forces of femininity and nature within and without we must open our ear to hear her voice.

The voices of patriarchy
may deafen the tone of feminine wisdom.
The yogini is one who listens
to her mystical song.

Upon this night of Tantric ritual the age old circle practitioners meet to work with and to celebrate the feminine power.
The Tantrics have kept this ritual alive for aeons.
Through patriarchal rule of missionary religions, through the British and other male oriented  empires upon the soil of the mystical culture, the Tantra has never been lost, it has lived on secretly on the outskirts and in the shadows.

The sacred feminine ritual of the Mother of all worlds.

Tantrics practice the Mudras and Mantras of Durga.
The Ugra mantras translate as the terrible sounds.
They are part of the Gupt (hidden) practices.

They are techniques that create sound
while subtlety choking the throat
through an inner contraction.
They produce fear and passion simultaneously
in the practitioner and raise inner substance
to work Tantricly with.

They raise the Prana and create great heat in the system.
A heat that feeds Kundalini with one’s Shakti, if it is concentrated.
The Maage mudras of the Buffalo and Sheer mudras of the Lion comprise a great part of this ritual.
Above all, it is a ritual of working with, empowering and celebrating the feminine power.


October 1, 2020

Lakshmi & Alakshmi Ritual


This Full Moon meditation
comes from the pantheon of secret tantric practices
that work powerfully to reconcile the opposites
within us

– Boonath

Death and Life are two sides of the same coin.

There is no living without dying, and there is no dying without living. Living and dying go together.

Where Lakshimi is life, Alakshmi is death, where Lakshimi shines like a star of vision, Alakshmi consumes like an enveloping night of creeping blackness.  

This meditation that is about to be presented, is linked to the two sisters in question. It is a ritualistic practice that pertains to the Moon phase we are working with tonight and on the 16th of October.

This ritual comes from the pantheon of secret tantric practices that work powerfully to reconcile the opposites within us.

Though this practice be most simple in appearance, it brings about profound power and insight to the one who practices it diligently between the first Full and New Moon of the darkening half of the year (that is, from tonight and for the next fifteen days).

The practice brings about deep insights into the nature of wealth and poverty and our relationship to these forces.

Just as the Tree is fruitfully in bloom in one season and then barren and leafless in another, the movements of these two energies comprise the vision of the nature of reality ‘with’ its fluctuations in the psychic seasons of the soul.

Object of Power

A coin is a Tantric object of power and symbolically represents the currency of the soul: Shakti.

Some tantrics keep a coin, sometimes it is worn around the neck on a string.
Amongst some yogis it may be a mere convention, but in the lines of Tantra, a coin is often handed down the line from elders to apprentices, having acquired power from decades of ritualistic use.
When a disciple has sufficiently learned about the laws of the exchange of energies, then they are given the coin as a mark of initiation, one amongst the 3 metal objects of power: trident and copper pot being the other two.
In tantric culture a yogi who has gained a high degree of wisdom about energy cultivation and preservation is privy to receive such a coin as a mark of initiation.
The learning of the laws of energy exchange implies that one knows of ways to keep a steady degree of energy, without the common fluctuations between tiredness and excitement.
This meditation is a great psychic instrument towards helping one towards such an attainment of equanimity.  

Law of Exchange

The practice can be dipped into superficially or one can immerse their whole being in it.
The practices of Tantra only give back in return what one gives themselves to them.
Time indeed can help one in gaining focus, but beyond the amount of time spent in such practices, is the quality, and intensity of devotion and focus, this plays a more important part than anything else.

We may approach Tantric subjects with the hope of gaining something, for example, health, peace of mind, healing or power.
These things come at a price and can’t be expected.
We only gain to the degree to which we have given, when we go into the mirror of Tantra.

If we use the practices in a casual way, spending minimally, holding back or withholding the currency of our Shakti, then Tantra will take from us in the same way that we have hoped to take from Tantra.

Life itself is a Tantric mirror, if we meet the reflection without smears upon the mirror we naturally meet balance, karmic smears upon the screen through which we live life are a Tantric concern.

In the spiritual world, there are no cheap deals, or two for the price of one offers. In the law of exchange there is no grasping for abundance with a poor hand.
Taking a lot without giving might be the perverse privilege of humans, but this is at a crippling price, often to others, but in the spiritual sense… where there is only one heart, we bear the consequences ourselves.

‘Time is money’

Those corporations that roll in big amounts of money are those that occupy a big place in the space/time continuum. Take corporations such as Amazon or Burger King, Facebook or tabloid newspapers.

Corporations occupy the space/time continuum in both a collective and an individual sense. How? by latching onto the unresolved archetypes that burn in the recesses of the soul.

Until a symbol that consumes us is embraced in both its dark and light aspect, it is an open door to disempowerment by ‘unowned’ forces that can ‘enter’ invisibility and unnoticed within us and steer the engine and direction of our spiritual focus.
By aquatinting oneself with the timeless realm that the soul inhabits beyond the space/time continuum, the ‘time is money’ or the ‘time is power’ principle is known in more than a theoretical way.
Tantrics say that soul of every human is Maha Kaal, (the one beyond time) beyond birth and death, beyond coming and going.
The Yogis’ vision has been to touch the timeless, through working with time in the realm of time that we inhabit in parallel unison to the timeless realm.


Take a coin. It can be specially selected, perhaps bought from a collectors shop. You may have a treasured coin among your keep sakes and trinkets already.
Or you may simply take the first coin that comes to hand.

One side of the coin is painted black by you.
You can use a wax crayons for this, or children’s hobby paint, or even black nail polish.
The other side is polished for a period with a cloth or a tissue, you might even like to use metal polisher to bring out a shine.  

The coin is tossed and lands upon the floor, and you make circles around it.
If it lands shiny side up, you circle it in the attitude of Lakshmi, in the Surya chakra (clockwise Solar direction) walking round and round the coin until you feel yourself to be the Goddess of fortune herself. Notice your outer countenance and align it to one of royalty and grandeur, whilst inwardly summoning and visualising the prosperity Goddess, you can feel yourself to be Lakshimi in your own psychically creative way.

If the tossed coin lands black side up upon the ground, you circle the coin in the Chandra chakra (counter-clockwise Moon direction)
You take the walk of poverty, summoning thoughts and feelings of poverty, walking with empty, impotent countenance of hungry and tired poverty.
Align yourself to an inner attitude of Alakshmi, ugly, sour and barren.
Align to a grief-stricken reality and as you continue to circle, go deeper and deeper into this.

Flip the coin until you have done both sides, you may get a few tosses of one Goddess in a row, keep going and doing the practice.
When both sisters have shown their face by the magic of the coin, then the circling is complete.

Afterwards, sit on the floor with the coin between your palms.
Go into the centre that exists between the extremes of the two expressions of Lakshimi and Alakshmi.

The practice can be done anytime, upon awakening and before sleeping is recommended.

To find our more about the myth of Lakshmi and Alakshmi, read our blog post!

We hope you will find this meditation useful.
Hara Ring,

Boonath & Kim

Lakshmi & Alakshmi

September 26, 2020

The Golden Moon of Wealth & the Dark Moon of Poverty
A Tantric Ritualistic Investigation into Duality

In the Tantric system Lakshmi is the Golden Goddess of Wealth. A beautiful woman of rapturous allure, attracting the soul like a moth to the flame. Alakshmi, her elder sister, is the Barren Goddess of Poverty. A withered woman of sour nature who rules over loss, hopelessness, disgust and perversity. 

When Lakshmi enters the heart and home there is a desire for Golden living. In her sweet-lipped realm, abundance and prosperity abounds on the spiritual and physical level as she carries the cup of Amrita (elixir). When Alakshmi enters there is preoccupation with life in decay. In her sour-lipped realm, perversion and poverty shade one’s heart and being as she carries the cup of Hala Hala (poison).

One who trails their hand towards the secrets of blue twilight…
One who reaches for a secret wisdom imparted twice daily…
Such a one is on the way of the soul. The way of Shiva.

Shiva is the one who rejects nothing, that’s his secret and he’s the prototype for the Yogi on the path of Wisdom. Yogi means the one who balances and brings together. Shiva does not run in fear from the shadows of poison or loss, and neither does he run to the light for hope or abundance. 

Shiva’s seat is the place of balance and power in the opposites that reality presents us, Shiva is the natural being who’s surrendered the selective battle of the self and because of this stance has opened the secrets to reality. The meeting of the Full Moon of Lakshmi with the Dark Moon of Alakshmi is the wisdom of Shiva who represents the soul power in us all. Shiva drinks of Halahala (poison) and Amrita (elixir) alike. It is Shiva who meets both Lakshmi and Alakshmi at Twilight.

In Tantra nothing is rejected and poison and medicine are understood to be one and the same: polar facets of the same reality. In seeming paradox, to reject the poison becomes equal to refusing the medicine. Tantra offers a healing vision to the notion and reality of poison: a new approach to revealing and resolving conflict…

To Know Both Goddesses

The Full Moon on 1st October is known as Lakshmi Puja. 
The Dark Moon on 16th October is known as Alakshmi Amvasya (Amvasya means when the Moon is absent).