Smt. Shambhavi Das
Sounds & Music Practices to Establish Spiritual Zone
“Mam, I don’t like my voice when I sing, I cannot connect as it sounds harsh on the high notes; I hate my voice and don’t practice much due to that…” This was the statement by my 12 years old student eight months back when he was entering his puberty period. His voice was changing and so was the singing. Voicebox could not resonate with him, and he developed a complex for vocalism. From these sentences onwards, I started training him in vocals keeping the base as spirituality and well-being. I would educate him about his adolescence, puberty, hormonal changes, etc., and tell him stories about my own experiences around it. He would talk more about it and after a few sessions, it seemed that only communication and discussions made him look further into his hatred of his voice. We kickstarted the spiritual practices through Sounds and voice.
This is a common story for youngsters who develop a lack of confidence, low self-esteem, and lack of self-love due to their hormonal thought processes and mindset. They start seeking approval outwardly and socially which is periodic and uncertain, sometimes life moves in this very direction due to the lack of guidance and hear-me-out events.
Indian music can be one of the catalysts to finding spiritual content within us. Techniques for learning vocals themselves lead to many peculiar/peaceful experiences and premonitions. Vocal practices have a segment as Dhwani-Sanskar or voice production which has several crystallized layers and knots to unleash. It depends upon an individual’s capacity, potential, patience, and satisfactory levels regarding what layers she/he wants to meet and mate. We can now discuss a few powerful techniques:
Four-Steps breathing- Yogic Pranayama and Dhwani-Sanskar is music (Sangeet-Sadhana) has four sections: Puraka, Kumbhak, Rechaka, and Shunyaka/Maha-Kumbhaka. Leisure Inhalation is known as Puraka; Pause after inhalation or holding of the inhaled air known as Kumbhaka; timely Exhalation is known as Rechaka; Long Pause after exhalation or suspension after the air is exhaled and before the next inhalation begins, also known as Sunyaka. Musically, this process results in heavenly, ambrosial, soothing vocals. Real vocalism in Indian musical culture is singing from the gut or from the lower gut to acquire a soft, resonant, sustained voice. This process is not only essential for mindfulness singing, but also for acquiring the state of consciousness and ‘now-moment’. It unleashes the brain-knots and makes even immature minds of kids establish a real connection with Mooladhar and Vishuddhi Chakra. For youngsters and youths, the step-by-step, defined process provides clarity in the brain on what to do (As we say just breathe, so they will lack the structure formation and avoid the practice). Therefore, the four-step breath with exact reverse counting.
Pranayama (Diaphragmatic breathing Exercises)- Above can be termed as Bhastrika among the Pranayama exercises. The remaining is Anulom-Vilom which is the nostril breathing with the same four-step procedure. This helps the gut to get cooler and ready for hard-core vocal practices. Bhramari- brain breathing or blocking the ear and eyes and humming with Tanpura’s pitch even in its audibility due to ear block. In Bhramari, all the humming sound reaches the brain and head area or Sahasrara and Agya, which encourages resonance and sustenance in the brain. It unleashes the stress effect and relaxes the brain stem cells and nerves. I make my students practice Bhramari for 6 minutes. Last is Ujjyaayi- Inhalation through the throat without any vocalism and just inhaling the air through the throat and not the voice box. This doesn’t require any singing or humming. This is required for strengthening the vocal cords for high-note techniques. Spiritually, all these practices bring a profound effect on temperament and demeanor.
Gut-Humming- There are a few instructions when I say, ‘Do the gut humming’. It’s a very deep and intellectual process. Gut sensations and fluctuations must be primal and constant. Humming must be minimal sound or zero-volume. Even if it's inaudible to others or the self, it’s all good if the inner parts are vibrating. It is responsible for bringing self-love and contentment back within the being which is lost by the upper layers of a regular monkey mind and beliefs.
Minimal ‘Om-Hom’-Rendition: Similarly, Ommm-Aum and Homm and other vowels with Ha-Kar, Humkar, Hokar, Hukar, Hekar, Halkar, Heekar, etc. renditions require a lot of concentration and rigorous deep-breaths and gut movement to ensure the correct procedure is followed without a speck of trembles and shakes in the voice. In 5 minutes, it gives a meditative and peaceful mood and environment to the young children as well.
Swar-Dhyan (Note-Legato rendition): Moving to further practices, Shadja-bharan or establishment of the base note is like reaching another level of peacefulness, tranquility, and stability. Here the voice changes to automatic fulfillment. After several Om-renditions, the voice heats up, opens from its shell, and spontaneous resonance petals up. Mentally, this stage is highly joyous and scintillating.
Spirituals zone Establishment: After eight months, I made that the student write their perception after each tool for practice: “How do you feel? What were your thoughts during singing? Did you like your sound? Were you able to connect with that subtle soft voice?” I was amazed by the answers and writing of a merely 12 years old: “Mam, I feel peaceful, I can write poems on how I feel, when I think how I sang, my mind automatically creates vocabulary and recitation.” He also writes long mindful blogs on how his voice changed and how he started loving his voice and self.
Self-love and acceptance are spiritual milestones that incorporate many other attributes like self-esteem, confidence, detachment from self-beliefs, and acceptance of other perspectives. Spiritual tools for practice breed at least some motivation to go on the path of meditation and self-upliftment books, among kids and youngsters.