SACRED SOUND CIRCULATING CHAPLAINCY
DHARMA ACOUSTEMOLOGY
WITH AND THROUGH
ŚĀKTA THEOLOGY
FOR AND OF
FOREST CHAPLAINCY
In Fulfillment
of the Requirements for the MA Capstone
Maurena L. McKee
Graduate Theological Union
Table of Contents
ABSTRACT
I INTRODUCTION
Purpose of the Research
Contributions to Humanity and Dharma Studies
Contemplations for an Interdisciplinary Study
Methodology
Studying And Embodying A Śākta Perspective
Learning And Practicing An Acoustemology
II SYNTHESIS
Sharīra Trayam in Indian Yoga Philosophy
Śākta Perspective of Brahman and of Śarīra Traya
Components in the Tantric Synthesis
Twelve Kālīs in Kaula Trika Lineage
Dialogue of Embodiment and Perception within Krama Lineage
III TITLE OF CHAPTER
Chapter one. Embodied Reflection and Moon Meditation
Chapter two. Embodying Music: An Acoustemology of Just Truth
Chapter three. Marginal Voice: Listening to Those Who Are Tuned Out
Chapter four. Perception in Chaplaincy Ethnography and Oscillation of Consciousness
III CONCLUSIONS
Honoring One’s Natural Course of Bereavement and Divine Feminine
Synthesizing and Responding to the Earth With and Through Ministry
REFERENCES
Abstract
ABSTRACT: Upon a Master’s of Arts in Sacred Texts and Interpretation, my coursework in Hindu Yoga Studies have led me to emphasize the necessity of intersubjective hermeneutics rather than mere interpretation. I was encouraged to take note of the GTU 360 Sustainability Initiative, developing an aim for an eco-praxis. While initiating into yoga studies through the Center for Dharma Studies, applying acoustemology with a Śākta perspective seems essential for understanding sacred sound, the spirit of rasa, and absolution into music. While studying at the Graduate Theological Union, my research focus became how intuition is unveiled within a contemporary worlding, vis-à-vis a Dharma transmission. Within the Department of Religion and Practice, I suggest I naturally came to focus on this subject matter, while scholastically studying Sanskrit sacred texts, and implementing a vocational religious practice while living in Latin America.
Introduction
INTRODUCTION
The significance of this work within the discipline of anthropology and theology is revealing a conversation that naturally occurs between disciplines, through cosmology and musicology, ecology and for the sake of all. The significance of this work mainly includes musicians who reside in and tend the land of Chirripó mountain. Another local community is hopefully at least 1 religious congregation amongst 18 congregations within the area of Rivas, San Jośe, Costa Rica. The significance for me is having a focus, while Chirripó mountain and Śākta sacred texts have come to reveal to me my lifelong dream and vision to love and cherish. The dedication of this capstone is to Maha Devī, upon her embodiment and blessings, and by tuning in with her wisdom we contribute to and pay respect for Sanātan Dharma. While recognizing Hindu Studies through Śākta theology, I sense my role as an author is to be a part of the contemporary conversation within the field of ontology.
The final aim is to complete this project with and through Śākta methodology that includes anthropology, upon an experimental ethnographic media lab meant to eventually lend to an established music studio and ministry in service of skills-building in media production and theater arts for locals, and for the lunar deity. This thesis aims to advance the notion for forest chaplaincy and interfaith yoga within a theater and music ministry, which may naturally circulate and sustain as an ecological and social justice-based ministry and production company. In further words, focusing on the process of yoking within a ministry intrinsically participates in ecology and inherently offers means toward justice, while simultaneously meeting a space of interfaith dialogue among Indian arts and Dharma traditions. However, this thesis aims to place Hindu cosmology at the forefront, while sharing historical contexts of interfaith within Dharma traditions, finding how Hindu ethics correspond with ecological awareness.
While considering the insights brought by O. P. Dwivedi (1993) in “Human Responsibility and the Environment: A Hindu Perspective,” when diving into Hindu religion and history, there is much to learn and embody terms of the sanctity of life in Hinduism. “We need to understand how a Hindu’s attitude to nature has been shaped by his religion’s view of the cosmos and creation” (Dwivedi 1993, 20). There is an inherent effectiveness of any religion to protect the environment, but what matters the most is how a religion’s precepts and injunctions are transmitted into everyday interactions. Although this research for forest justice, in relation to death and dying, does not take place in West Bengal, India, the sentiment is present through Sanskrit sacred texts and an honoring Chandra and loving Maa.
This research is influenced by a desolate mountain, where I aim to apply acoustemology for multiple approaches to decolonization and look to apply a Śākta perspective within Sanskrit sacred texts, leading to a unique touch with the natural environment. The features of Hindu religion, such as a focus of sustaining a caring attitude towards nature, strengthens human respect for Divine creation. Although being properly initiated is required for each tradition, gradually understanding the faith systems through sacred texts and their interpretations unveil intuition toward the process of yoking. Overall, I suggest building in sound studies within anthropology in relation to Hinduism or Sanātana Dharma is necessary, so this thesis follows a practiced methodology in ethnomusicology on participating in centrical motion.
Purpose of the Research
This thesis is meant to highlight the potential of applying an anthropological research method on the phenomena of sound, though this methodology was not originally implemented or observed for theology. Anthropologist Steven Feld coined ‘acoustemology’ by conjoining “acoustics” and “epistemology,” to describe his methodology on relational ontology, lending to a decolonial research focus. In this thesis, acoustemology will be applied to study relational ontology with a decolonial lens into everyday life and moment-to-moment living in the rainforest, within a contemporary Dharma transmission. Hindu Kali tradition is the dedication within this theological research, while Kalī is the main contribution and purpose — for absolution with a Śākta perspective — integrated with ethnomusicology through means such as inductive reasoning and “acousmatic listening.”
CONTRIBUTIONS TO HUMANITY AND DIVINITY
The primary theological contribution of this research is cognition of the Goddess, with a focus on sacred texts found in Śākta tradition. For instance, the Devī Gītā offers a clear means of the internal worship of the Goddess, cognizing the Goddess as pure consciousness. The key consider within chaplaincy is the substantiation of Bhakti Yoga, essentially classified as detached or selfless devotion combined with emotional intensity. Typically bhakti is modeled after the cow maidens (gopīs) within their amorous sport with Kṛṣṇa, while such “a mode of amorous ecstasy, however, has no place in the Devī Gītā, where the supreme is the Mother” (Brown, 1993, pp. 225). The focus within Śākta tradition is then upon Goddess worship, for which sacred texts based on the Maha Devī or the Great Goddess offer external and internal forms of worship that prepare and move one toward devotion. With this at hand, the Devī Gītā encourages Vedic ritual (involving different methods, procedures, and images) with the rules of pūjā or ritual worship—with two formal types of pūjā based on the guṅas of nature.
Before exploring ancient knowledge found in Sanskrit text, for the sake of chaplaincy it is important to consider the studies that are classified within medicine and psychiatry. When it comes to understanding bereavement, psychological studies have narrowed down a handful of grieving patterns. Most of the life events which have been blamed “for the psychiatric disorders that follow them are in fact losses, and there is good reason to believe that some bereavements endanger mental health” (Parkes 1985, 11). An article titled “Bereavement,” Colin Murray Parkes (1985) offers a psychiatric database to describe and understand the disturbance of grief and classify typical responses to bereavement. “Any of the psychological defense mechanisms familiar to psychiatrists can come into operation at such times and can influence the ways in which grief is expressed. Hence the wide range of inter-individual differences which occur” (Parkes 1985, 11). The state of being bereaved is ultimately different amongst every individual and upon every single circumstance, as the set point of grief is subjective and dependent on one’s life path and environment, which is why this thesis aims to contribute to bereavement studies.
CONTEMPLATIONS FOR AN INTERDISCIPLINARY STUDY
The very premise of cosmology is to study the whole, bringing forth monism, while
within Hindu cosmology an all-inclusive perspective is continually reinforced. This lends from an esoteric potentiality and feeds into knowledge within relational ontology. In “Reimagining Time: Kāla Śakti, Agency, and the Decolonization of Temporality,” Madhu Prabakaran (2025) clarifies the relationalist paradigm and reveals the interplay of memory, karma, and creativity. Prabakaran (2025) “argues that the relativist chronology of modernity, which mirrors colonial logic by divorcing time from meaning, must be challenged by relationalist temporality” (2025, 1). In Hermeneutics and Hindu Thought: Toward a Fusion of Horizons, Rita Sherma and Arvind Sharma (2008) offer a collection of theological perspectives on the study of (Hindu) traditions and the meaning of “Hinduism.” While acknowledging the theological aim to ground a pluralistic Hindu hermeneutics, this thesis explores hermeneutical approaches such as indological and philosophic, ranging from an epistemological to the ontological.
The fields of study emphasized within this thesis hold space for a (w)holistic perspective of a value system, which also alleviates tensions in the colonial mind or in misconceived contradictions on faith during pursuits in daily human life. For instance, in The Song of the Goddess: A Translation, Annotation, and Commentary, C. Mackenzie Brown (1998) identifies specific conceptual tensions—often thought outside of a perspective of faith, such as the tension of seeing the unity within monism as a contradiction. By circulating knowledge within and throughout multiple disciplines, this thesis aims to emphasize and enhance the clarity of consciousness experienced in faith and faithful relationship. I suggest more awareness is found through the conception of the “three bodies,” which is rooted in Sanskrit sacred texts and seems to be attuned by Nancy Scheper-Hughes and Margaret M. Lock (1987) in “The Mindful Body: Prolegomenon to Future Work in Medical Anthropology.” Thus, I contemplate mending fragmentations laid-over from the hegemonies established within colonial epistemologies.
Methodology
This thesis offers a foundational premise for research and for ministry vis-á-vis interfaith yoga and chaplaincy, both to put decolonial methodologies to practice and to build upon decolonization. Considering the delicate situation of fieldwork and decisions of when to participate or critique after observing the field, which has inspired a cross-disciplinary interaction between two methodologies (i.e. applying a cross-methodology). On one hand, this thesis engages with cosmology within ontology as a field of study, while studying the discipline of theology with a Śākta perspective as the method of research. On the other hand, this thesis engages with musicology within epistemology as a field of study, while studying the discipline of anthropology with and through acoustemology as the method of research. Upon seizing this interaction, the yoking process is meant to prevent misappropriation and epistemicide while interpolating sacred sound within contemporary transmissions of ancient tradition(s).
STUDYING AND EMBODYING A ŚĀKTA PERSPECTIVE
In The Devī Gītā: The Song of the Goddess, C. Mackenzie Brown (1998) transliterates the sacred text and comments on the notion of purification and transformation of the body in Śākta theology. Brown clearly examines the message of universal energy (Śākti), as the Great Goddess (Maha Devī), who both ontologically and cosmologically implements her Brahman nature. While also having an affinity for cosmotheism within the Upanisads, the perspective portrayed in the Devī Gītā also underlies the Tantric worldview upon its ritualized contemplative practices. The “relationship of the Devī’s aspect as the supreme feminine principle of the universe to the fundamental masculine principle, a relation usually expressed in terms of the interaction between Śakta and Śiva” (Brown 1998, 22). The two-fold dynamic relationship is viewed here to draw attention to both creation and liberation.
In Keywords in Sound, Steven Feld (2016) published a chapter titled “Acoustemology,” “Acoustemology begins with acoustics to ask how the dynamism of sound’s physical energy indexes its social immediacy. It asks how the physicality of sound is so instantly and forcefully present to experience and experiencers, to interpreters and interpretations...to inquire into sounding as simultaneously social and material, an experiential nexus of sonic sensation” (Feld 2016, 12).
Brahman exists equally and identically as the self of all, and such a truth can be grasped and celebrated only in a mind that is loving and compassionate (Rambachan 20, 2006).
“The relationship may be one of dependency or codependency (in the strict meaning of the term), or it may be one of radical independence, or something in between. Tantra in general presupposes a bipolar view of ultimate reality, of the One unfolding into Two as the God and Goddess, associated with various other complementary opposites such as spirit and matter, consciousness and energy, passivity and activity. Both creation and liberation are seen as the result of the union or reunion of the two co-ultimate principles/deities” (1998, 22).
Whereby, Brown focuses on how purification of the body is significant to Tantric techniques, as a means for the old body to dissolve and for the body to become infused with divine breath. The Great Goddess both ontologically and cosmologically implements her “Brahman nature;” yet, unlike Advaita of Śamkara, she is the ultimate reality that not only manifests Māyā but is Māyā herself.
The interrelated parts of the above statement is evident in a Śākta view that the physical body is not something disgusting and merely full of pain, rather the body is viewed as an exceptional and powerful vehicle for spiritual transformation. In the Devī Gītā, Vedic and internal forms of Goddess worship are depicted during Himālaya’s gradual inquiry about para bhakti or the highest level of devotion.
C. Mackenzie Brown (1998) states that in this “Śākticized context, the well-known scriptural verses are understood to be not just about Brahman per se, but rather about the Goddess herself. From the standpoint of the Devī Gītā, the Goddess’ revelation herein to the gods thus provides new insight into and deeper understanding of the ancient Upanisadic text” (1998, 206). There are few ideas in the Devī Gītā that are truly novel, with its influence and roots in a wide array of scriptural works and religious treatises. The Devī Gītā is merely recovering and clarifying the truths in other Hindu sacred texts that may be perceived as obscured, while setting them in the (appropriate theological) context of radical Śāktism. Nature of material reality; the world and the means through which the world or physical reality is created; often labeled as the illusory status of reality, especially in Advaita Vedanta interpretations (ibid.).
LEARNING AND PRACTICING AN ACOUSTEMOLOGY
Throughout his fieldwork, Steven Feld said he exhausted the conceptual repertoire of an anthropology of sound, and then began to ground into a deeper engagement with the phenomenology of perception, body, place, and voice. Feld states that “unlike acoustic ecology, acoustemology is about the experience and agency of listening histories, understood as relational and contingent, situated and reflexive” (Feld 2015, 15). The acoustemological approach “listening to histories of listening” incorporates methods of relational listening while always having an ear to agency and positionalities. Feld found how “bird sounds are the voice of memory and the resonance of ancestry” (ibid., 16), as “birds are what humans become after achieving death” (ibid.), becoming “gone reflections” or “gone reverberations.” Bosavi song consists of bird soundmaking—their intervals, timbres, and rhythms—creating poetry that “imagines how birds feel and speak as absented presences and present absences” (ibid.). After recording, transcribing, and translating about one thousand bird-voiced forest path songs, Feld found they contain almost seven thousand lexical descriptors that include sensuous phonaesthetic of light, motion, wind, and sound qualities.
Acoustemology’s most common method is “knowing-in-action: a knowing-with and knowing-through the audible” (ibid., 12) and engages with the relationality of knowledge production by investigating sounding and listening. One of Feld’s interlocutors taught him “to hear acoustic knowing as co-aesthetic recognition...how each natural historical detail had symbolic value-added...how knowing the world through sound was inseparable from living the world sonically and musically” (ibid., 18). Although this work considers the possible outcomes of applying a knowing-in-action to sonic theology, yet the major focus will be on the approach of listening to histories of listening. I will connect directly with the nature of the Upanishads, equating the notion of “sitting down near” as a disciple sits at the feet of a guru, with Feld’s overall focus on an inquiry that centralizes situated listening. To consider the ancient Upanishads the ultimate histories of listening may be the essence of this thesis. While toggling around the listening histories of the Upanishads, this thesis will now ground more in Vedic knowledge of the sacred syllable Ōṃ, stories of sounding, and absolution.
.
Synthesis
SYNTHESIS
This paper grounds into literature on Hindu Tantric interpretations of the late Mahāyāna sūtras and early Tantras. The Tantras consider the body as divine, containing the cosmic hierarchy within, along with the cosmic polarity of masculine and feminine energy—between Śiva and Śakti as the Goddess Kuṇḍalinī. In this paper, a dialogue between Śākta Tantra and Kashmir Śaivism aims to hold space for the perspective of monism and the interpretation of the narrative structure within thee eternal dialogue between the cosmic polarity. Being within two distinguished Hindu Tantra branches, Śākta Tantra and Kashmir Śaivism differ in the significance of Brahman, while both lean into Kuṇḍalinī. The intention of this paper is not only to participate in dialogue, but also to connect more awareness into embodiment and perception. The aim is to initiate with a Śākta perspective of embodiment and Sharīra Trayam in yoga philosophy, and then consider the Krama lineage that is at the core of the Kaula Trika lineage of Kashmir, for more clarity into a philosophy of language in relation to perception.
Sharīra Trayam in Indian Philosophy
Śarīram is based within the Taittirīya Upaniṣad, composed around the 6th century BCE, part of the Yajurveda, “Veda of the Sacrificial Formulas.” Sneh Chakraburtty (2026) offers a transliteration and translation of the Taittirīya Upaniṣad, in which this teaching is traditionally mapped across the second section (Brahmānanda-vallī) and third section (Bhṛgu-vallī).
Chakraburtty (2026) summarizes the Brahmānanda-vallī as an explanation of spiritual ecstasy.
“One who knows Brahman attains perfection. Brahman is truth and knowledge, unlimited. One who realizes it within the heart enjoys the fruits of all desires in the company of the Brahmana [texts in the Vedas]. Ether arose from the supreme atma, and the other elements one after another. The visible person is made of food and vital fluids (anna-rasa-maya). There is a second person who ensouls him, the prana-maya person of the vital air. He is ensouled by the third person, the mano-maya person of the mind and Vedic duties. He is ensouled by the fourth person, the Vijñāna-maya-purusha who is the jiva. The jiva is ensouled by the fifth person, the ananda-maya Supreme Person” (2026).
Chakraburtty states that this section presents and describes the soul-body relationship on five levels (the five-kosha theory), with the five purushas being five koshas. The unfolding of the five-kosha theory in the Brahmānanda-vallī entails and leads to more description into the three bodies as referenced in the Bhṛgu-vallī.
Chakraburtty offers a transliteration and translation of the Bhṛgu-vallī.
yato vaco nivartante, aprapya manasa saha, anandam brahmano vidvan,
na bibheti kadacaneti, tasyaisa eva sarira atma, yah purvasya, tasmadva
etasmanmanomayat, anyo, antara atma vijnanamayah, tenaisa purnah, sa
va esa purusavidha eva, tasya purusavidhatam, anvayam purusavidhah,
tasya sraddhaiva sirah, ritam daksinah paksah, satyamuttarah paksah,
yoga atma, mahah puccam pratistha, tadapyesa sloko bhavati.
From where the words return, along with the mind, unable to attain it, that blissful
Brahman he who knows does not fear even a little. This, indeed, is the soul of the
that prior one (breath body). Now, different from this which is made up of mind is
another body inside, which is made up of intelligence. By that (intelligence) is filled
this (mental body). This one is also in the shape of the being. As is the shape of
that form of the being so is the shape of this form of the being. Of him, faith is its
head, the order and regularity of the world the right side, truth the left side, yoga
the body, the great one (intelligence) the tail, the foundation. Regarding this there
is also this verse.
As invitations to prayers and meditations, these sections are implementing specific theories and doctrines within the context of worship. To consider this philosophy further requires exploring other aspects of the Veda.
Śarīra–Traya is cosidered to be relevent in the Māṇḍūkya Upaniṣad, dated to the early centuries of the Common Era. Māṇḍūkya describes the three states of consciousness (Avastha Traya), namely waking consciousness, dream, and deep sleep. This distinction is foundational to the Tattvabodha (circa 8th century CE) as a Vedantic text, which emphasizes a distinction between anātman and ātman. In a Vedantic Primer, “Tattvabodha of Adi Shankaracharya,” Dr. S. Yegnasubramanian lectures on Vedantic terms, revealing how all the three shariras are anātman, or rather, not the ātman (which is described as eternal and unchanging). The śarīra–traya is stated as sthūla–sūkṣma–kārana śarīra, which is classified as containing the sthūla-śarīra (gross body), sūkṣma-śarīra (subtle body), and kārana śarīra (causal body). Overall, Tattvabodha describes ātman as that beyond the śarīra–traya, especially known since the three śariras characteristically and etymologically undergo change, decay and destruction.
Śākta Perspective of Brahman and of Śarīra Traya
In the Devī Gītā, Vedic and internal forms of Goddess worship are depicted during Himālaya’s inquiry about the rules of pūjā or ritual worship. C. Mackenzie Brown (1998) states that “in this “Śākticized context, the well-known scriptural verses are understood to be not just about Brahman per se, but rather about the Goddess herself. From the standpoint of the Devī Gītā, the Goddess’ revelation herein to the gods thus provides new insight into and deeper understanding of the ancient Upanisadic text” (1998, 206). The Great Goddess, the all-knowing divine female without a male consort is the auspicious Mother-of-the-World and formally addressed as Bhuvaneśvarī. The illustration of Bhuvaneśvarī reveals her superiority to all the male gods, being the one to provide comfort and guidance to her devotees. “While lounging on [her] couch at the beginning of creation, the Goddess splits herself into two for the sake of her own pleasure or sport—one half of her body becoming Maheśvara (Śiva)” (1998, 2). In this manner, the Goddess demonstrates herself as superior to the gods, while embodying Śiva as an avatara and entering the world during specific moments in her creation.
From a Śākta perspective, the Śarīra Trayam consists of a threefold of the Self, which is shared in “The Goddess as the Supreme Cause of Creation,” chapter two of the Devī Gītā. “The Goddess explains the initial impulse of the Self, in its aspect as the Unmanifest or Causal Body, to undertake the creation” (1998, 95). The Śarīra Trayam, consisting of the Sthūla, Sūkṣma, and Kāraṇa, Śarīra implicates “the generation of the three bodies of the Self—Causal, Subtle, and Gross” (1998, 96). With this at hand, the generation of the Lord and the soul, their three bodies, and their interrelationship is described. “The soul is regarded as the individuated form, the Lord as the aggregated” (1998, 105). The Goddess states that with the creative role of the Lord and his relation to herself, emphasizing the transmission of consciousness, that is inspired in the Lord after being conceived in her creation.
The Goddess summarizes the nature of the Gross, Subtle, and Causal Bodies, and of the Self that lies beyond these three—Sthūla, Sūkṣma, and Kāraṇa Śarīra. “When free from the three bodies beginning with the Gross, a person becomes absorbed in Brahman. The Gross Body arises from the fivefold compounded gross elements. It experiences the fruit of all its actions and is subject to old age and disease. In truth it is false, yet it appears real, being full of Māyā. This is the gross limiting condition of my own Self, O Mountain King” (Brown 1998, 150). Here, the organs of knowledge and action are fused with the mind and intellect, producing the subtle body, which allows the wise to discern. “Arising from the uncompounded elements, this Subtle Body of the Self is my second limiting condition, experiencing pleasure and pain. Without beginning and indefinable, ignorance is the third limiting condition, it is that Body of the Self which appears as Casual in nature, O Mountain Lord” (1998, 150). Furthermore, when these limiting conditions are dissolved, the Self alone remains, as one attains the root that is Brahman.
The Devī Gītā goes on to state that the Tantras speak of righteous action, yet the teachings of some authors are said to be rooted in ignorance. Therefore, it is noted that due to a corrupting defect of ignorance, specific texts outside of the Veda lack authority. In Brown’s (1998) translation, the Goddess says: “9.15. From me, omniscient and omnipotent, the Veda has arisen. Since ignorance is absent in me, the Vedic revelation lacks nothing in authority” (1998, 269). The Great Goddess affirms the authority of the Vedic tradition with regards to righteous action or sacred law. The Goddess goes on to describe the means in which she combats unrighteousness:
“When there is a decline in righteousness, O Mountain, 9.23. And a rising of unrighteousness, then I assume various guises. And related to this are the different fortunes of the gods and the demons, O King. 9.24. For the sake of teaching those who do not act righteously, I have at all times Provided hells, terrifying to anyone who hears about them” (1998, 271).
The Goddess is signifying her various avataras when referring to guises or vesa, such as the masculine visages of Rāma and Krṣna who are not merely Viṣnu but the Goddess herself.
One way of combating unrighteousness is to play an active role and claim a direct responsibility of guarding the Vedas. Aside from the direct intervention of the Goddess as an avatara or incarnation, the Goddess has stated that specific texts have been created to acquiesce individuals. It stated in Brown’s translation of 9.26-30 in the Devī Gītā:
“The various other religious treatises in the world which are opposed to Vedic revelation and sacred law are entirely based on error. The scriptures of the Vāmas, Kāpālakas, Kaulakas, and Bhairavas were composed by Śiva for the sake of delusion, and for no other reason. Due to the curses of Daksa, Bhrgu, and Dadhīca, the most excellent of Brahmins were scorched and excluded from the Vedic path. For the sake of rescuing them step by step, at all times, the Śaiva and Vaisnava, the Saura as well as the Śākta, and the Gānapatya scriptures were composed by Śiva” (Brown 1998, 273-4).
Śaivite texts (revelations of Śiva) therefore contain a collection of theological underpinnings that both have different aims from the Veda and adhere to the Veda. As presented in the Devī Gītā, the motifs of a curse bringing people to follow scriptures that lead away from the Vedic path are not uncommon in the Purānic texts, to reinstate śruti (Vedic revelation) and smrti (sacred law).
Components in the Tantric Synthesis
In An Introduction to Hinduism, Gavin Flood (1996) explores how Śaiva and Tantra traditions are generally ascetic with ecstatic tendencies, which become universalized through the process of Brahmanization or Sanskritization. The dialogue within the tantric realm differs depending on the tradition, while the Tantras generally have an emphasis on worship for liberation. “Tantric Śavia groups would regard their revelations as the esoteric culmination of Vedic orthodoxy, while Buddhist Vajayānists would similarly regard their Tantras as the culmination of Mahāyana Buddhism” (1996, 159). Flood further notes how brahmanical theology is built-up from regional ritual and possession groups which in-turn influences these groups, as ritual and possession form the substratum of brahmanical theology.
In Sonic Theology, Guy L. Beck (1993) examines the theological scholarship of Hinduism in relation to ancient sacred texts and the philosophy of language. “The truths outlined in the Vedic corpus (sometimes called ‘Nigama’) are said to be realized practically through the techniques (sadhana) inculcated in the Agamas, a kind of evolved Veda sometimes called the ‘Fifth Veda’ and said to be the prescribed teaching for the present degenerate age of Kali Yoga” (Beck 1993, 150). The tantric revelation is found in the Āgamas and Tantras, and while the Tantras may be dated back to 600 CE, most of them were composed from the eighth to the tenth century. Moreover, the Tantras are quite respectable in Kerala and Tamilnadu, where ‘Tantris’ are high-caste Brahmans who install icons in temples—whereby Hindu Tantra is further developed after the Agama. Overall, Beck primarily focuses his examination on the ongoing knowledge base of soteriological goals, philosophy of language, and esoteric studies.
In The Origins of Yoga and Tantra, Geoffrey Samuel (2012) states that “[w]e are unlikely ever to know precisely how the ‘internal yogas’ of Tantric Śavism and Buddhism developed” (2012, 285). There is a clear notion in relation to China and India trade routes, which proposes the force of diffusion and ideological influence. Samuel declares that there is “evidence for similar practices in China many centuries before our earliest Indian evidence, and we know that there had been several centuries of active interchange along the China-India trade routes by the time that these practices appeared in India” (ibid.). Since the earliest appearance of these ideas and practices in India, they were conceptualized (and reconceptualized) within Indic vocabulary. Early versions of these ideas and practices in India were in North Indian Śaiva material (in the Kaulajñānanirnaya and Kubjikātantra), which dates back to the ninth and tenth centuries.
Beck (1993) offers an examination of the primary divisions of the Hindu theistic tradition, examining two main sectors of the Śaiva tradition. Śaiva Siddhānta and Kashmir Śaivism differ on the perspective of monism, as well as in the interpretation of the narrative structure within the dialogue between Śaiva and the Great Goddess. “The methods and practices of attaining salvation in Śaiva-Siddhanta follow those categories that appear in the Śaiva-Agama yet espouse an emphasis on love, thus being part of the Bhakti tradition” (Beck 1993, 159). Through the point-of-reference within larger society, Śaiva-Siddhanta allocated for communion with the divine. On the other hand, for Kashmir Śaivism offers more of a focus on the ninefold salvific function. There does not seem to be a large distinction to suggest that Kashmir does not go along with Bhakti traditional practices, but it may be a reason for why the basis of Śaiva-Siddhanta is more relative to the basis of bhakti today, for the sake of communion.
Within the last few decades, religious studies scholars have prompted the notion of a coexistence between two separate corpora, giving the Veda and Agama nearly equal authority when it comes to guiding the development of Hinduism. “True to the Agama tradition, followers of Śaiva-Siddhanta practice and advocate the recital of the Pancaksara-Mantra (namah sivaya) in order to obtain release, or moksha: ‘This is also called Mukti-Pancaksara in view of the fact that it’s recital is designed to lead one from the state of sadhaka [practitioner] to that of the multa [liberated soul]…It is the direct sadhana for Śiva-Darsana [visualization of Śiva]” (Beck 1993, 159-160). Śaiva-Siddhanta is known to accept the basic Aganam categories of Nada Bindu, placing Nada as a feminine dimension of the all-powerful deity of Śiva instead of as Śiva himself. One could argue the perspective that two traditions of two access points allocates a connection between a partnership, amongst a larger area of communion.
Śaiva-Siddhanta looks upon Para or Nada not as Brahman but as Śakti—Parigraha-Śakti of Brahman, with a focus on its unfoldment into concrete speech forms for the sake of modal change (vrtti) rather than not “unreal” appearances. Nada in this case may be seen as an instrument of Brahman, with the divine word as being spoken through a channel to be stable in society. Beck suggests “this was probably due to the influence of the neighboring Śākta ideologies, which unequivocally place Nada-Brahman as the Śakti, or energy, of Brahman and not Brahman itself” (Beck 1993, 157). With this in mind, I suggest that this view of dualism or qualified monism occurred at the place and time within the development of Śaiva-Siddhanta. Overall, the branch of Śaiva-Siddhanta and its view of the divine seems to allow for strength and awareness to human and divine connection, while following a clear channel that can be easily accessible amongst a larger urban population.
Nonetheless, all Tantric scriptures seem to reveal the centrality and importance of the guru in Tantrism. “The tantric texts are regarded as revelation, superior to the Veda, by the traditions which revere them: the Śaiva Tantras are thought to have been revealed by Śiva, the Vaisnava Tantras by Visnu and the Sakta Tantras by the Goddess, and transmitted to the human world via a series of intermediate sages” (Flood 1996, 158-9). There are differing forms of dialogue found within the Tantras, whether from the Vaisnava Tantras, Śiva Tantras, or Tantras of the Śākta tradition. “The Tantras generally take the form of a dialogue between Śiva and the Goddess (Devī, Pārvatī, Umā). The Goddess, as the disciple, asks the questions and Śiva, as the master, answers” (1996, 159). On the other hand, “in some Tantras focused on the Goddess – those of the Śākta tradition – it is Śiva who does the asking and the Goddess who replies” (ibid.). The differing forms emphasize the purpose of the established tradition for each of the Tantras.
The Twelve Kālīs in Kaula Trika Lineage
The Tantras has been so pervasive that all of Hindu religious life and experience subsequent to the eleventh century, many traditions have been influenced by these lineages. “The religious culture of the Tantras that is essentially Hindu and the Buddhist tantric material can be shown to have been derived from Śaiva sources” (Flood 1996, 158). In the tenth century, Abhinavagupta completed the Tantrāloka and Tantrasāra, a treatise on the philosophical and practical aspects of Kaula and Trika (known today as Kashmir Śaivism). Kashmir Śaivism refers to the development of the east Kaula transmission known as the Trika (‘Threefold’) into a householder religion. “While the Trika originated as a cremation-ground cult, the monistic ideology and practice came to influence and appeal to Brahman householders who appropriated Trika teachings, absorbing them more into the mainstream of Hindu traditions and articulating a theology distinct from the Śaiva dualists” (ibid.). The soteriological goal of the Trika initiate is to merge one’s own consciousness back into a higher, universal consciousness, which is manifested in the forms of Śiva and also the Goddess Kālī.
Among Śaiva traditions, common features include the concern with practice or sādhana, involving initiation (dīksā), ritual and yoga. “The soul is eventually liberated from this entanglement by ritual action and by Śiva’s grace” (Flood 1996, 163). The common ritual structure varies depending on deities and mantras, but the structure is based on “the purification of the body through its symbolic destruction; the creation of a divine body/self through mantra; internal worship or visualization; followed by external worship or pūjā” (ibid., 160). The Tantras are concerned with the practitioner’s spiritual journey, which is experienced and conceptualized as a journey of the Kuṇḍalinī, moving through the body. Tantrikas are followers of the Tantras, and it is theorized that they originated among ascetic groups in cremation grounds and not of brahmanical origin. The ideologies of these groups began to influence popular religion and brahmanical circles in eleventh-century Kashmir.
In “From the Sequence of the Sun-Goddess (bhānavīkrama) to Time-Consumption (kālagrāsa): Some Notes on the Development of the Śākta Doctrine of the Twelve Kālīs,” Aleksandra Wenta (2021) reviews the doctrine of the twelve Kālīs, which is stated to be one of the earliest developments of the Śākta tradition of the Kālīkula/Kālīkrama/Mahānaya. “The Kashmiri exegetical writers often refer to the twelve Kālīs collectively as the ‘wheel of consciousness/energies’ (saṃviccakra, ciccakra or śakticakra)” (2021, 726). There is a direct root in relation to “the wheel,” while there seems to be some variation in relation to the motion of the wheel and the ‘object’ of the wheel. “For the tenth-eleventh-century polymath Abhinavagupta, the founder of the Trika, the twelve Kālīs represent the “arising of the wheel of consciousness” (saṃviccakro daya) unfolding in the wheel of the inexplicable (anākhyacakra) and they are described as such in detail in chapter IV of his Tantrāloka” (ibid.). Furthermore, Abhinavagupta’s disciple Kṣemaraja identifies the twelve Kalis—called the ‘ray-goddesses’ (marīci devīnām)—with the ‘wheel of powers’ (śakticakra).
In “The Twelve Kālīs and Utpaladeva’s Appraisal of the Sensory Experience,” Aleksandra Wenta (2016) suggests that through time, the name of Abhinavagupta has somewhat overshadowed his teacher Utpaladeva. “According to Abhinavagupta, it was Utpaladeva himself who appears in the spiritual lineage that transmitted the Doctrine of the Twelve Kālīs to him” (Wenta 201, 250). Utpaladeva was a ninth-century Somānanda, and is the author of Śivadrṣṭi apart of the Trika lineage of Kashmir. “The attentive reflection on this sequence (krama-parāmarśa) that is established as the ground of all experience is the practical application of saṁvit-cakra” (Wenta 2016, 357). Utpaladeva's theology of liberation is the idea of "recognition" (pratyabhijñā) and how to achieve it, so to consider the process of perception and recognizing an ongoing process with consciousness.
Samuel (2012) notes that in ordinary people these centers or wheels neither revolve nor vibrate, as they form inextricable tangles of coils known as ‘knots’ (granthi). This is because they ‘knot’ spirit and matter, which strengthens the sense of ego. “Together they consisted of the unconscious complexes (samskāra) woven by illusion, and the weight and rigidity of the past offers a strong opposition to the passage of the spiritual force” (Silburn 1988, 27-30; Samuel 2012, 284). The wheels are not static centers that are physiological within the gross body, yet energy may knot up within the body. Being an obstruction, each knot “must be loosened so that the energy released by the centers can be absorbed by the Kuṇḍalinī and thus regain its universality” (ibid.). The centers belong to the subtle body, not the physical body, but the yogin can locate the centers with as much accuracy as if the centers belong to the physical body. This view of the Savite scheme employs five chakras, versus the seven chakras that is common in accounts of the chakra system.
Christopher Wallis (2018) translated from the Tantrasāra of Abhinavagupta, offering an English translation of “The Teaching of the Twelve Kālīs,” chapter four of The Essence of the Tantras. The Twelve Kālīs consist of Sṛṣṭikālī, Raktakālī, Sthitināśakālī, Yamakālī, Saṃhārakālī, Mṛtyukālī, Rudrakālī / Bhadrakālī, Mārtaṇḍakālī, Paramārkakālī, Kālāgnirudrakālī, Mahākālakālī, and Mahābhairavacaṇḍograghorakālī. “She by whose power [any conscious being] devours this threefold process [, holding it within himself alone as unified awareness, is simply the Blessed Goddess Śrī Parā— denoted [in this transcendent aspect] by other names, such as the revered Mātṛsadbhāva (‘Mother Existence’/ ‘The Essence of All Knowers’), Kālakarṣiṇī (‘She Who Devours Time’) or Vāmeśvarī (‘The Goddess of Beauty’/ ‘She Who Emanates’)” (Wallis 2018). Wallis explores how these twelve Blessed Goddesses, that are Consciousness, reveal [Themselves].
Wenta (2016) describes the twelvefold scheme of Kālīkrama’s hermeneutics of the sensory experience, which contains these twelve rays of consciousness. The fusion in the mode of the non-sequential sequence (kramākrama) is rooted in the supreme condition of sthiti that lies at the foundation of the Kālīkrama’s hermeneutics. “The twelvefold scheme (3 x 4 = 12) represents the processing of the cognitive energy taking place between the trinity of the knower (pramātr), the means of knowledge (pramāṇa), and the object of knowledge (prameya). Each follows the fourfold sequence of (1) projection (srṣṭi), (2) maintenance (sthiti), (3) withdrawal (saṁhāra), and (4) the inexplicable (anākhya)” (Wenta 2016, 357). Thus, there are many variables and conditions to recognize within the twelvefold scheme of noticing the process of perception, in which cognitive energy is generated in the objective world and brought to the inexplicable or nameless being.
The Twelve Kālīs reveal even to one, in configurations or combinations, all at once or gradually—reverence revolving like a wheel. Wallis explores the modes of emission, stasis, and resorption in his translation this chapter, which explains the Twelve Kālīs in a specific order. “First, [Consciousness] projects (kalayati) an entity or state entirely internally. (Sṛṣṭikālī). Then, perceiving (kalayati) it as something distinct from itself, it becomes passionate (rakti-) towards that very entity. (Raktakālī). Then, wishing to reabsorb it within, it begins to internalize (kalayati) that very entity. (Sthitināśakālī). And then it alternately creates and devours a doubt/hesitation that constitutes an obstacle to the absorption of that entity. (Yamakālī)” (Wallis 2018). The initial four Kālīs presented in this order, with Sṛṣṭikālī, Raktakālī, Sthitināśakālī, and Yamakālī, may be preserved as a configuration of emission, then toward resorption.
The next combination of the Twelve Kālīs may be considered the area of stasis. “The element of hesitation devoured, it withdraws (kalayati) the object-aspect into itself by reabsorbing it. (Saṃhārakālī). Then it contemplates (kalayati) its intrinsic nature itself: “This capacity to reabsorb [the entity or experience] is my nature.” (Mṛtyukālī). Then, while pondering (kalana) its intrinsic nature as the capacity to reabsorb, it perceives (kalayati) something remaining as a subliminal impression, but then perceives something [else, i.e. another subliminal impression] reduced (avaśeṣatāṃ kalayati) to pure Consciousness. (Rudrakālī / Bhadrakālī). Then it reabsorbs (kalayati) the wheel of the 12 faculties, making them one with its realization (kalana) of its nature. (Mārtaṇḍakālī)” (Wallis 2018). During this process, one moves from emission toward resorption, while there is a procedure or in-between that is the stasis.
The following combination of the Twelve Kālīs may be considered the process of resorption. “Then it also absorbs (kalayati) the ‘lord’ of the sense-faculties (the ahaṃkāra). (Paramārkakālī). Then it also withdraws (kalayati) the constructed, dualistic (māyīya), limited subject (i.e. individuality). (Kālāgnirudrakālī). It withdraws (kalayati) the [universal] Subject too, which is on the threshold of abandoning [all trace of] contraction and excited to reach full expansion. (Mahākālakālī). Hence it withdraws (kalayati) even that (fully) expanded aspect [into the absolute formless ground]. (Mahābhairavacaṇḍograghorakālī)” (Wallis 2018). The remaining four Kālīs emphasize the all-encompassing nature of perception through consciousness, while this last combination may represent the subjective world. With this at hand, it seems essential to see how this knowledge is practiced today, with the Tantrasāra of Abhinavagupta, and also to consider that there are various branches of teachings and lineages in relation to subtle anatomy.
Dialogue of Embodiment and Perception
The Goddess-centered Kaula Tantrism, and the Kālīkula or “Family of Kālī,” denoted several interrelated groups whose primary deity was Kālī. Wenta (2021) reviews the doctrine of the twelve Kālīs, which is stated to be one of the earliest developments of the Śākta tradition of the Kālīkula/Kālīkrama/Mahānaya. “Each of the twelve Kālīs is called the energy (kalā) and as such it belongs to the goddess Mahakālī, who embodies the supreme energy (parā kalā), called the nectar (amṛta)” (2021, 737). Wenta’s overview of the twelve Kālīs reveals subtle courses of dialogue within these traditions, such as “the reformulation of the twelve Kalis as constituting the saṃviccakra and thereby embodying the perfect fullness of awareness (pūrṇatāsaṃvit) of the Lord enabled Abhinavagupta to introduce the concept of Paramesvara as the lord of the wheel (cakreśvara)” (2021, 752). With Abhinavagupta’s interpretation, there appears to be an association with stages of the cognitive cycle, with a hierarchy of cognizers, while for the Kalās of Mahākālī in the Devīpañcaśataka there is an emphasis into one’s own nature of cognition.
The interrelated groups that connect primarily with Kālī seemed to root the doctrine, while somewhat sprouting into the later exegetical works of Abhinavagupta in the tenth and eleventh century. “Another point worth noticing is that the Kālikākramapañcāśikā considers the bhānavī krama to be a part of the tradition of the Skeleton of Kālī (kālīkaṅkāla), of which we unfortunately know nothing about” (Wenta 2021, 730). The Krama lineage may have initiated with the Krama goddess Kalasaṃkarṣini, while Abhinavagupta’s aim becomes to subsume the Krama goddess, who stands for the creation of consciousness. When studying perception in the Krama lineage, it seems the different interpretations are in relation to one’s view of absorption and reabsorption. This seems to be determined by one’s own significance to Brahman, with each lineage declaring the means of perception based on their own understanding of embodiment.
Nonetheless, it seems absolutely essential to acknowledge the aboriginal mother Kalī Maa, as well as connect with the Krama lineage and Kaula Trika lineage, if one is going to study embodiment in terms of Tantra. “The Devīpañcaśataka gives two alternatives for the worship of the twelve Kalis: the saṃvitkrama and the pūjākrama, the distinction still retained in Jayaratha’s commentary on the Tantrāloka. In the samvitkrama, the twelve goddesses are worshipped internally as the succession of one’s own cognitive process (svasaṃvitti). In the pūjākrama, the instructions are given to worship the twelve goddesses in the external ritual setting as the retinue of the thirteenth goddess located in the middle” (Wenta 2021, 737). In terms of Tantra Yoga, Kuṇḍalinī is the middle of three, where one remembers universality, and essentially both external and internal are absorbed through either ritual setting for the worship of the twelve Kālīs.
The initial set of the Kālīs may be viewed as the objective world, with Sṛṣṭi Kālī is present in any perception and Rakta Kālī is direct perception. Sthitināśa Kālī is the appeased state and curiosity of perception has ended, while Yama Kālī winds up in a state of thinking and perceiving again resides in her own true nature. “The first group of the four Kālīs who are intent on kālagrāsa in the field of the object (prameya) derives its name from the root kal in the sense of kṣepa, and it is applied to the enjoyment of women. Kṣepa (“casting forth” or “projection”) means here the “extroverted sensual desire” that arises through contact with women” (Wenta 2021, 747). The objective world as the outer limits of perception, that over the external for extroversion, with Sṛṣṭikālī, Raktakālī, Sthitināśakālī, and Yamakālī, seems to reside within the sthula sarira or the gross body of consciousness.
The the next set of Kālīs may be viewed as the the cognitive world, with Saṃhārakālī, (Mṛtyukālī, Rudrakālī / Bhadrakālī, and Mārtaṇḍakālī. “The second group of the four Kālīs instigates kālagrāsa in the field of the instruments of cognition (pramāṇa) and derives its name from the root kal in the sense of sabda (“to resonate”), and saṃkhyāna (“to enumerate”)” (Wenta 2021, 747). With Saṃhāra Kālī the objective world appears as faint clouds in a clear sky, while with Mṛtyu Kālī clouds disappear, bringing the feeling of oneness. While Rudra Kālī / Bhadra Kālī destroy all doubts and suspicions, Mārtaṇḍa Kālī absorbs the energies of cognition into herself. “Therefore, those who are addicted to wine can reach kālagrāsa merely by seeing, touching, or drinking the wine. Once the wine is swallowed, the sense of duality is destroyed. As a result, the state of blissful relish becomes firm, without any contact with the object of experience” (ibid.). This intermediate state brings the experience of reflection, which may be present in the sukshma sarira or the subtle body, upon the cognitive process.
The final set of Kālīs, known as Paramārkakālī, Kālāgnirudrakālī, Mahākālakālī, and Mahābhairavacaṇḍograghorakālī, are in relation to the subjective world. “The third and final group of the four Kālīs derives its name from the root kal in the sense of gati (“to go” or “to know”)” (Wenta 2021, 747). Paramārka Kālī is the state in which ego is dissolved, holding twelve organs of cognition Kālāgnirudra Kālī all of time still exists. “These four Kālīs arise for those who are immersed in the enjoyment of meat insofar as they penetrate the state of inner relish whose nature is the subject (pramātṛ). Ultimately, the enjoyment of meat leads to the kālagrāsa” (ibid.). Krama metaphysics is based on the progression from determinate to indeterminate, which is interpreted in the three modes: pramāṇa, prameya and pramātṛ. The process of perception is essentially resolved or amended in the subjective world, through the karana śarīra or the causal body.
With this at hand, I suggest that the Kālīkrama’s hermeneutics may be aligned with the Śarīra Trayam, consisting of a threefold of the Self, in which the totality of universe is realized, and perception ripples back into supreme consciousness. In the Devī Gītā, The Song of the Goddess: A Translation, Annotation, and Commentary, C. Mackenzie Brown (1998) translates how the Goddess summarizes the nature of the Gross, Subtle, and Causal Bodies, and of the Self that lies beyond these three—Sthūla, Sūkṣma, and Kāraṇa Śarīra.
“Now these two here, the Lord and the soul, are said to have three bodies through the power of nescience. By identifying themselves with the three bodies, they also come to have three names. The soul as the Casual Body is named the Intelligent, as the Subtle Body, the Brilliant, and as the Gross Body, the All, thus are its three divisions known. In like manner the Lord is known by the terms the Lord, The Cosmic Soul, and the Cosmic Body” (Brown 1998, 102).
With this at hand, I suspect that the synergy of the three bodies seem to hold space or be in the space for the presence of consciousness to ripple out and to ripple back in through perception, while this experience of direct perception being brought back to the core, by consciousness, is experienced by both the individual and the Divine.
Kālīkrama’s hermeneutics of the sensory experience describes a passage through the three worlds that are referred to as the objective world, cognitive world, and the subjective world that seem to hold space for consciousness. “The projection of the object in the outline of objectivity, generated by the unfolding of will, is emergence (akalitollāsa/srṣṭi). Each time this will falls on the external object, the sensual enjoyment (tatsambhoga/sthiti) is maintained. Returning back to its own essential nature which is the withdrawal of expansion for contraction is relish (carvaṇa/saṁhāra). The final repose of the differentiated objects in the unity of consciousness, where they are mirrored as reflections indistinct from their primordial source (the absolute “I” (pūrṇa ahaṁ), is the phase of the inexplicable cessation (virāma/anākhya)” (Wenta 2016, 357). Kālīkrama’s hermeneutics offers a rite-of-passage through three worlds, which I further suspect relate with the sensory experience of the three bodies.
The Śarīra Trayam in Indian yoga philosophy refers to how embodiment sustains a circulation on behalf of both ātman and Brahman. Wenta (2021) explores how Kālīkrama’s hermeneutics takes place within awareness or inner resonance, into which consciousness reabsorbs after “passing through” three energies. “Abhinavagupta writes: ‘This being (sat) [who appears] externally is first dissolved in the fire of knowledge. What remains then is what is left of the awareness, which is inner resonance. The condition of space being reached, by passing through the three energies, one attains to what is made of knowing, ultimately to dissolve in what is reabsorption’” (Wenta 2021, 754). Overall, Kālīkrama’s hermeneutics of the sensory experience describes a passage through three energies, while it is to be determined with more clarity whether these three energies pertain to the three worlds which relate with the three bodies.
Conclusion
The Twelve Kalis emphasize the perspective oscillation from the objective world to the cognitive world, and back into the subjective world. The combinations of Kalās into a configuration of four may coincide with the three bodies, in which direct perception oscillates. Upon the oscillation, the Sṛṣṭikālī, Raktakālī, Sthitināśakālī, and Yamakālī, seem to pertain to the gross body. The Saṃhārakālī, Mṛtyukālī, Rudrakālī / Bhadrakālī, and Mārtaṇḍakālī may connect within the subtle body. The Paramārkakālī, Kālāgnirudrakālī, Mahākālakālī, and Mahābhairavacaṇḍograghorakālī must relay the perception into the causal body and back to the Self. The Krama lineage offers a focus on a ripple of consciousness, moving out from the center and finding direct perception. While in tune with the process of consciousness bringing perception back into the center, one may witness how Mahābhairavacaṇḍograghorakālī removes all boundaries and exists as the supreme reality.
Chapter one
CHAPTER 1. Embodied Reflection and Moon Meditation
Building faithful relationship within the whole of the self is possible, through contemplation and meditation, through action and performance, through learning by doing, and an overall self-exploration upon self-expression. The theological theme of worship and ritual is to a faithful relationship, where virtue fruits from the roots of value. Theatre of the Oppressed in terms of theology can be understood and applied through noticing the aim and direction of liberation in practice. As a ministry intervention, an embodied reflection on how to enhance our emotional balance (or hope in the present) and to build our emotional intelligence (or trust in intuition) is offered in this paper. This ministry intervention is based on hope and trust, which may be understood through metaphor and representation of the moon. The orbit of the moon, as a ministry intervention, considers the approaches of theatre of the oppressed in terms of theology, while grounding in traditions through iconography and the communication in cosmotheism.
Cosmology and Communication
In “The Mindful Body: A Prolegomenon to Future Work in Medical Anthropology," Nancy Scheper-Hughes and Margaret M. Lock (1987) aim to communicate and argue for a deconstruction of received concepts about the body. “Its goal is both the definition of an important domain for anthropological inquiry and an initial search for appropriate concepts and analytic tools” (1987, 7). Upon critically examining and calling into question various concepts that have been privileged in Western thinking for centuries and influencing perception of the body, Scheper-Hughes and Margaret M. Lock define “three perspectives from which the body may be viewed: (1) as a phenomenally experienced individual body-self; (2) as a social body, a natural symbol for thinking about relationships among nature, society and culture; and (3) as a body politic, an artifact of social and political control” (1987, 6). Overall, this prolegomenon is necessary to readdress the relationship between spirit and matter that is often dismissed or reduced in assumptions such as the much-noted Cartesian dualism.
On behalf of ontology and lending to theology, the field of cosmology holds space for the cosmic vision and heavenly body that is prayed for in Earth frequency. C. Mackenzie Brown (1998) offers a translation and commentary of The Devī Gītā, which emphasizes the premise of the macrocosmic whole or the universe, and the microcosmic whole or the self, well-defined in cosmology. Brahman is a fundamental concept in Indian philosophies, characterized as eternal, conscious, infinite, and omnipresent, serving as the spiritual core of the universe. Defined as the supreme existence or absolute reality, Brahman is known as the ultimate truth in Hindu religion. In Vedic tradition, “physical and psychological elements back into their preceding sources, successively, until the final unity or mergence back into Brahman is attained” (Brown 1998, 16). Within qualified monism, cosmology may be accounted for to consider and realize communication between the individual and the Divine, while a faithful relationship toward liberation can be cultivated through ritual and worship.
Iconography and Yantra
The origins, methods, and applications of iconography in different religions and traditions employ representations of daily life since the dawn of time. Yantras are mystical geometric diagrams that are deeply rooted in Hindu and Buddhist traditions. These sacred symbols are often used as tools for meditation, worship, and spiritual enlightenment. Each yantra has its unique design and significance, acting as a focal point for practitioners to connect with the divine energies associated with it. Dharma traditions offer fascinating yantra designs with aspects that are deeply woven within pathways of the traditions. For instance, the Chandra Yantra is encapsulated by an outer layer as the universe containing creation, with a unique patterning at the center. Seeking the grace of Lord Chandra promotes anger management and expressing the right reaction at the right time.
The emphasis on establishing a clear connection with the deity is key to Hinduism, while forming a faithful relationship through ritual and worship is the premise of every religion and faith. “Rituals employ symbols so as to invoke, to address, to affect, even to manipulate, one or another unseen power” (Driver 1998, 97). It seems necessary to connect practices of image theater within Theatre of the Oppressed in relation to theology by the uses of imagery in iconography. This connection can reveal the practical application of imagery for the psychology of an individual. While this connection can also reveal the potential space for merging theater and theology, by holding space for the imagination in multiple ways and for multiple purposes. “It is these actions—invoking, addressing, affecting, manipulating—that are primary. They are so much more fundamental than the symbols that we may even regard the symbols as having been generated through ritualization” (Driver 1998, 97). The virtue that may be embodied through the course of a value is the very actualization of a ritual upon a system.
Reflection on Ritual as a Theological Theme
The intersection of theatre of the oppressed and soteriology upon ritual can be sensed in Tom F. Driver’s (1998) Liberating Rites. “Anthropology has discovered not only the prevalence of ritual in all societies but also its intimate linkage to social process. In a very sense, to study humanity is to study ritual; and this has prompted me to think that to ponder the future of humanity is to consider the future of ritual” (Driver 1998, 10). Driver suggests that ritual is innately part of the human experience upon natural process, and if people do not choose ritual, then people will find ritual of the oppressive kind. “While the creation and performance of rituals belong to what is best in human life, I have found it necessary also to keep in mind the power of rituals to do harm” (1998, 8). With this in mind, it is interesting to consider where to otherwise know and perceive a liberating kind of ritual. Overall, it is acknowledged that the very nature of human process emerges from the freedom of performance situation, as an effervescence.
Understanding the Transformative Power of Ritual
“Rituals are expressive of human agency, the power of human beings to act. It is misleading to suppose that rituals are undertaken out of weakness, as if they are a substitute for more effective actions that people cannot or will not do” (Driver 1998, 112). While at the same time, after more readily understanding ritual and worship, I came to appreciate the practice of theatre arts. In Worship For the Whole People of God, Ruth C. Duck (2013) shares, “John Burkhart, a Presbyterian teacher in Chicago, provides the name for this last main understanding of worship: “rehearsal,” that is, worship as a way of practicing love, justice, and peace in preparation for life in the world” (Duck 2013, 14). John Buckhart writes,
“Since God’s will gives movement and pattern to reality, shaping history to its redemptive goal, worship takes on the dimension of rehearsal. . . . discerning the plot, finding roles, developing and refining characters, and practicing arts, lines, and gestures, in the drama of a history graced by God. . . . In the dimension of rehearsal, worship is to be judged by whether and how it transforms those who worship. Worship is rehearsal when the gathered church is changed and inspired to take its part in God’s drama of transforming life in this world” (ibid., 14).
The dimensions of rehearsal are seen in ritual and as worship, while individuals are changed and inspired, as with the place of worship, to participate in transformation.
In this case, one can also see the cross-sections of theatre arts and healing arts in ritual. “That may sometimes be the case, but it is not, contrary to the Freudian view, always the case; and it is certainly not prototypical. Anyone who has spent time in ritually active communities knows that rituals mobilize human energy and focus it in collaborative action” (Driver 1998, 112). The most beneficial part of theatre arts is holding space for the remembrance of embodiment and the eternity of self-exploration, while the most valuable part of Theatre of the Oppressed (T.O.) is “that community members have the right to question or opt out of any activity that does not feel like fit for them.” Overall, theatre arts and lending to T.O. theory and practice deepen my understanding of ritual and worship, particularly why to be patient during personal matters of consent and how to hold space for grieving, as a spiritual care professional.
In The Wildcard Workbook: A Practical Guide for Jokering Forum Theatre, Sulu LeoNimm, Liz Morgan and Katy Rubin (2022) use the power of design and art to increase meaningful engagement, while offering information on what T.O. forum theatre rehearsals look like. “The goal is to inspire transformative action in the real world by breaking from the traditional understanding of professional theatre and inviting audiences to participate” (2022, 6). T.O. acts on this space of knowing the eternal self, as remembered in dimensions of rehearsal, and embodied when one takes part in transforming when an individual chooses an activity upon one’s own accord and fruition. To consider the practice of ritual in T.O. seems to not only to consider ritual as representing the entire framework of a performative act within theatre, while it seems important to focus on one key part of the framework as a minister. This key part of the framework is the value of holding space for consent and grievance as a space holder, for grief and bereavement as a chaplain in T.O. activities, as well as in a place of worship in general.
Spirituality of Liberation and Liberation Theology
Soteriology and the spirituality of liberation can most clearly be accounted for and noticed through womanist spirituality, as discerning within the space of sharing offers relational awareness and energetic healing of the body. In “Standing in the Shoes My Mother Made, The Making of a Catholic Womanist Theologian,” Diana L. Hayes (2006) identifies as a Catholic womanist theologian who states that this claim is based on several assumptions.
“First, that to be a womanist is to be Black, that is, of African ancestry. Second that to name myself Catholic is to call upon 2000 years of African and African American history, claiming the Roman Catholic Church as Black and African long before the existence of the English, Irish, Polish, Germans, or Italians as Catholic and catholic.’ Third, I lay claim to myself as a woman, equal in grace and beauty to those of European ancestry, “Black and Beautiful” as the unnamed lover of King Solomon proclaims in her song” (Hayes 2006, 55).
These assumptions and claims are made in the face of centuries of denial of womanhood, femininity, faith, and race in the United States and its Christian churches.
Performance of freedom becomes the causal relation through words of affirmation, and the transformative power of ritual is embodied. Hayes states, “As womanists, our challenge is to gather the myriad threads of the richly diverse Black community and breathe into its renewed life, which can serve as a model of life for our world” (Hayes 2006, 56). Part of the struggle is to name and affirm the self and relatives who have been denied a rightful place in the history of humanity. “The struggle is communal, not individual, and can be won only if experiences are shared, stories are told, songs are sung, histories are reclaimed and restored, a new language emerges, which speaks words of peace and unity, which unites, which recalls both the pain and the joy of our different heritages and leads us into a brand new day” (2006, 74). The goal is to address the pain and affirm the truth, to reclaim freedom upon feeling the essence of the soul where there is pain often avoided, to retrieve the knowledge and humility of selfhood.
Words brought forth from centuries of denigration and dehumanization. “We speak a new and challenging word, born out of centuries long struggles to be free women created in the image and like-ness of a loving God, as all women and indeed all of humanity have been created” (2006, 56). The aim is to move from the denial of our personhood and toward the right to control one’s own mind, body and soul. “In spiritual solidarity, womanists have the potential to create a community of faith that acts collectively to transform our world. When we heal the woundedness inside us, we make ourselves ready to enter more fully into the community. We can experience the totality of life because we have become fully life-affirming” (Hayes 2006, 73). The shared experience of knowing the pain as well as holding space for the pain seems to allow for sensitivity, and this sensitivity in motion guides the way to a sustained state of liberation.
Along with words of affirmation as a process toward the performance of freedom, there is a freedom of performance in how relationships are sustained with places and others. In “Wisdom Sits in Places, Notes on a Western Apache Landscape,” Keith H. Basso (1996) explores how places are sensed together. “Relationships to places may also find expressions through the agencies of myth, prayer, music, dance, art, architecture, and, in many communities, recurrent forms of religious and political ritual” (Basso 1996, 57). Represented through daily life and interpersonal interactions, places and their meanings that are interwoven in the fabric of social life. “Deliberately and otherwise, people are forever presenting each other with culturally mediated images of where and how they dwell. In large ways and small, they are forever performing acts that reproduce and express their own sense of place” (1996, 57). This sense of place aligns with a sense of agency, registering at a sense of freedom that is aligned with action.
With this in mind, Scheper-Hughes and Lock (1987) see that the individual body is the most self-evident, while it is suggested that we aim to recognize how the social body causes action in the self. “We might, perhaps, think of those essentially wordless encounters between mother and infant, lover and beloved, mortally ill patient and healer, in which bodies are offered, unreservedly presented to the other, as prototypical. In collective healing rituals there is a merging, a communion of mind/body, self/other, individual/group that acts in largely non-verbal and even prereflexive ways to “feel” the sick persona back to a state of wellness and wholeness and to remake the social body” (1987, 29). Essential to this task is a consideration of the relations among what is referred to here as the “three bodies,” which may be a guide to reclaim our power, evening by merely reflecting on our past actions and relations with this awareness.
Therefore, the social body can be the place where we choose to aim for the performance of freedom and where we hold a space to act upon the freedom of performance. “John Blacking (1977) refers to “waves of fellow-feeling” the wash over and between bodies during rituals involving dance, music, movement, and altered states of consciousness. These “proto-rituals” occur, Blacking suggests, in a special space that is “without language,” without symbols,” drawing upon experiences and capacities that are species specific” (Scheper-Hughes and Lock 1987, 29). This has brought a knowledge base to anthropology of the body and led anthropologists to focus on the language of the body, whether expressed in gesture or ritual or articulated in symptomatology (the “language of the organs”). The goal in anthropology is to hold more and more space for this discourse, as it is vastly more ambiguous and overdetermined, always requiring allowance for the unfolding.
It is interesting to address and consider discussion on the body politic, and where this may allot more means of liberation. “At the third level of analysis is the body politic, referring to the regulation, surveillance, and control of bodies (individual and collective) in reproduction and sexuality, in work and in leisure, in sickness and other forms of deviance and human difference” (Scheper-Hughes and Lock 1987, 7-8). This seems to happen through chieftainships, monarchies, oligarchies, democracies, and modern totalitarian states, with a great deal being written on regulation and control of individual and social bodies. “In all of these polities the stability of the body politic rests on its ability to regulate populations (the social body) and the discipline individual bodies” (1987, 8). Of the three bodies, it is suggested that the body politic is the most dynamic in noticing how and why certain kinds of bodies are socially produced. With this in mind, the power of T.O. seems more clear as to how individuals can choose to gather in a social body and face a specific issue in the body politic.
Upon consent for participation, a group may gather and transformation may occur within a social body in theatre arts. Thus, we can see why “T.O. is practiced around the world as a powerful tool for activism, community building, and creative expression” (LeoNimm et al. 2022, 6). In The Aesthetics of the Oppressed, Augusto Boal (2006) explores the formation and ripples of Theatre of the Oppressed. “The theatre is also a means of communication, albeit more complex than the simple radio news service. Every form of communication possesses its own means – some enlighten their interlocutors and help them to develop their perceptions of the world” (Boal 2006, 25). Developing perceptions of the world through theatre, reveals how theatre can not only hold space for development but also practice of taking action. These practices could be applied within a theater school to offer a sense of liberation and connectivity to the students, while these practices could also be applied outside the contexts of theater. Solidarity with those in the group is an essential part of the T.O.
Augusto Boal (2006) offers a diagram and understanding of ‘The Tree of the Theatre of the Oppressed.’ The Theatre of the Oppressed method has not stopped growing since 1970, when it took roots in Brazil. “The enormous diversity of Techniques and of their possible applications – in social and political struggle, in psychotherapy, in pedagogy, in town as in country, in the treatment of immediate problems in one area of the city or in the great economic problems of the whole country – has never deflected them, not by one millimetre even, from their original informing proposition, which is the unwavering support of the theatre in the struggles of the oppressed” (Boal 2006, 4). With a reflexive relationship with other human beings and ongoing evolving practices, Techniques have stemmed from the roots and branches of the main gesture toward liberation, and as seen in the diagram below there are many possibilities.
Seeing ‘The Tree of the Theatre of the Oppressed,’ it is evident that there are many pathways of potential growth and development. “Expanding beyond the usual frontiers of the theatre, The Aesthetics of the Oppressed, seeks to develop, in those that practice it, their capacity to perceive the world by means of all the arts and not only the theatre, centring the process on The Word (all participants must write poems and narratives)” (Boal 2006, 4). For instance, upon womanist spirituality, Diana L. Hayes states, “We speak words of love, of passion, of anger, and of frustration; words that cut but also heal; words that challenge yet also affirm; words that call for new ways of being and seeing in our communities and throughout the world” (Hayes 2006, 56). With this invitation toward performance of freedom, also considering The Sound (exploring new instruments and of new sounds) and The Image (painting, sculpture and photography) feels just as viable to moving from feeling unheard and unseen, to heard and seen.
Introduction to the Practice
The ministry setting is based on forest life and nature-based perspectives and means of offering spiritual care and counseling. Since there is no specific physical building in mind, this ministry intervention can be brought to any place of worship, while emphasizing the Divine Feminine and the inner feminine within all. “Promient among her identifying marks are her three playful eyes and her four hands, two of which carry a noose and goad, the other gesturing here beneficence and granting of fearlessness. A modern devotee affirms that these “four hands represent dharma, artha, kama and moksha,” that is her eagerness and power to bestow the four chief ends of human existence (virtue, wealth, pleasure, and liberation)” (Brown 1998, 3). Thus, while aiming to establish a ministry service and production company, I am focused on sustainability and circulation through four pillars: liberation, virtue, desire, and abundance.
The Cycle of Being and Becoming
In Vedic tradition, with the Vedas offering the four aims of human life, the most important and ultimate focus is liberation. The path of liberation with the Great Goddess as in the Song of the Goddess is truly “the realization of the identity of the self (or Self) and the Goddess” (Brown 1998, 47). By devoting to the Goddess, there is a generation or production of divine power to stimulate the creative and nurturing process of the cosmos. “Both ontologically and cosmologically, then, the Great Goddess fully implements her “Brahman nature,” Yet, unlike the more classical Advaita of Samkara, she, as the ultimate reality, not only somehow manifests or wields Māyā, she also is Māyā. Thus Māyā, along with all its productions—the world with all its embodied beings” (Brown 1998, 17). Thus, in a Sakta perspective, the physical body is not seen as something disgusting, but rather as a powerful vehicle of transformation.
Brahman is often described as the ultimate truth that underlies all existence, connecting all forms of life and consciousness. “The Devī Gītā, in accord with the Advaitic theism just discussed, sees the Goddess as the embodiment of Brahman, “one alone, without a second,” and associates her creative power of projecting the universe with Māyā” (Brown 1998, 17). Actualizing the whole of the self occurs upon realizing the never-ending divinity, in which one could say the soul is always transforming. “The more mystical religious concern of liberation is seen in another medieval definition of utsava as “that which takes away samsara.” In the case of the Goddess, this latter goal may be [a]mended to “that which takes away the pain and suffering of samsara (but necessarily samsara itself),” for liberation is not something wholly apart from this world” (1998, 258). The sense of longing may eventually be met with the sense of belonging; thus, the yearn for the divine is not to be bypassed as it may be part of the journey to realization, while joy and pleasure are a foretaste or participation in divine bliss.
To maintain the balance or harmony between the interlinked realms of the universe, especially between the divine and human communities requires grace and merit. “Regardless of the specific details of creation, liberation entails a reversing of the cosmogonic process, through the practice of meditative dissolution. The gross, subtle, and casual bodies are dissolved back into each other, within one’s mind” (Brown 1998, 15). In Bereavement and Final Saṃskāra (Antyeṣṭi) in Hindu Tradition, Sri Dhira Chaitanya (2005) also states, “According to the model presented in the Vedic tradition, an individual is made up of gross, subtle and causal bodies” (2005, 71-2). Chaitanya explores the interrelation of the three cosmic bodies, “both the gross and subtle bodies seem to have become unmanifest and are not available for experience, and they become manifest again upon waking up” (2005, 71). The cosmogonic process, through the practice of meditative dissolution, may thus be considered the process of awakening.
Lunar Energy and Inner Feminine
The name of the program is Orbit of the Moon, with its name meant to emphasize the motion within the communication of everyday life on Earth with the Goddess. The tides of the ocean brought forth by the moon are the most important physical aspect and representation of the moon’s influence on earth bodies. “Some, like fire, water, and the sun or moon, represent fundamental aspects of nature through which her power flows. Others, like the book, point to her watchful care over the various fields of human endeavor. Such external objects help to focus the mind, allowing one to visualize more clearly the beautiful form and/or qualities of Bhuvaneśvarī herself” (Brown 1998, 280). Thus, it is important to consider both the internal and external forms of worship, with one important medium one’s own heart as the pathway to the Goddess. These aspects are not exclusive and readily intertwine, while may each reflection with different methods, procedures, and images of worship bring realization.
Figure 1. Bhuvaneśvarī as the manifestation of the Goddess in her highest iconic form
The ideal is that the gross body undergoes a transformation, by intentionally moving with the elements; this process may occur before the inevitable death of the physical body, when the gross body transforms by returning to their elemental form. “The cycle of birth and death continues until a jiva frees itself by gaining what in the Vedic tradition is called moksa or liberation” (Chaitanya 2005, 71). For understanding this process, the channels of energy are essential, which are found within esoteric studies and cosmogonic awareness. The “account of the esoteric physiology—involes the arousing of the Serpent Power (kuṇḍalinī), and is elsewhere referred to as Kuṇḍalinī Yoga” (1998, 182). There is a general consensus for yogic purposes, in which the nāḍīs toggle around the suṣumnā. In terms of the meru-daṇḍa, “in the macrocosm, Mt. Meru is the axis mundi, the supporting pillar of the earth, running from the underworlds to the heavens. In the microcosm (body), it is the spine, running from the “Root Support Center” to the cranium” (ibid.). These channels are mentioned in the early Upaniṣads, circulating life force energy throughout the body and departing the body at death.
While the early Upaniṣads only mention the suṣumnā by name, there is no reference to the nāḍīs that are known of as the iḍā and piṅgalā in Kuṇḍalinī Yoga. “The word [iḍā] is connected with the feminine noun id, one of whose meanings is “comfort.” Thus the technical term iḍā-nādī could be interpreted to be the comforting channel—comforting because it cools the body during the heat of the day. As the rest of the verse indicates, the iḍā is associated with the moon, which in contrast to the sun is thought to possess cooling qualities” (Brown 1998, 182-3). Although the suṣumnā, iḍā, and piṅgalā are all significant to the path of liberation (mokṣa-mārga), my intention for this ministry intervention is to consider how the iḍā (“Channel of Comfort”) offers reflection for and correspondence with the piṅgalā (“Tawny-red Channel”) as the suṣumnā (“Most Gracious Channel”), or the central artery, and becomes the cause of the cosmic bodies to dissolve back into each other.
Embodied Reflection Portfolio
At this time, my ministry and activism context moves through a decentralized and personalized mode of operation. Where I am residing, a gathering that uses my first language is formed through decentralized measures. Gatherings could be formalized through a flyer, and people may meet at a local soccer field, public restaurant, or precarious temple. While in the future, I hope to continually be immersed in the dominant language of the area, while building connections in spaces of faith. By the time I reach full immersion, in which I am more fluent in language use, understanding and speaking fluidly, then potentially the ministry interventions and materials that I construct could be shared in more spaces of faith, such as church settings, chapels and cathedrals. Forming a personalized ministry intervention is meant to hold space for the esoteric studies reminding scholars and theologians of the moon, while signifying specific areas in traditions that recognize the moon as a reflection point to enhance emotional balance.
Enhance Emotional Balance
Harnessing the energy of the moon through worship and ritual is known to enhance emotional balance, intuition, and personal growth, particularly through focused meditation techniques in Dharma traditions. Furthermore, this focus is also meant to hold space for traditions and areas in tradition where the feminine is acknowledged and femininity is embraced. Moon meditation refers to meditative practices that align with the lunar cycle, particularly focusing on the energy of the moon during its various phases. This practice allows individuals to connect with their emotions and intuition, using the moon's influence to gain insights into their inner selves. It is believed that the moon's phases can affect our emotional states and overall well-being, making it a powerful time for reflection and meditation. In this ministry intervention, there are three modalities to hold space for meditation.
The first modality is the Yantra, which is invocation of the deity by its very presence. A statue of a deity requires an invocation with a mantra to be invited into the space. The Chandra Yantra, dedicated to the Moon God Chandra (Soma), symbolizes calmness and intuition. Its design incorporates circular patterns, which are adorned with Yantra symbolic motifs, representing lunar energy that nurture emotional and spiritual growth. The presence of the Chandra Yantra could be provided from a devotional painting of the symbol. With the Yantra present in the place of worship, any other form of invocation of the deity is an amplification to the Yantra. Therefore, after the Yantra meditation the presence of the Yantra is a part of the worship activities. By selecting the Chandra Yantra for meditation, the intentions and spiritual goals are tranquility and fertility. Meditating on this Yantra aids in developing intuitive abilities while harmonizing emotional states.
Chandra Namaskar, meaning “moon salutation” in Sanskrit, honors the moon’s cooling, calming energy. Thus, the second modality in this ministry intervention is the moon salutation, which follows a series of poses that can be learned through a 17-step sequence guide. While the Chandra Namaskar or moon salutation may not have the popularity of the Surya Namaskara or sun salutation, it does offer powerful benefits of its own, based on the values of the lunar energy. Unlike the sun salutation, this traditional practice moves at a slower pace, which embodies the gentle and introspective nature of lunar energy. Traditional Chandra Namaskar honors the moon’s cooling energy and promotes rest and relaxation. As a series of 17 yoga asanas, the moon salutation sequence may be implemented within a yoga session, as good a warm-up or a final cool down, while I find the sequence is also good as a stand alone.
The third modality is chanting, with repetition of the mantra “Om Chandraya Namah” silently or aloud, 108 times. The mantra “Om Chandraya Namah” invokes lunar energy, helping to restore balance and calm. Chanting mantras dedicated to Chandra is believed to invoke the positive energies associated with the Moon. There are different Chandra mantra chanted for specific purposes. Chanting all the Namaskar Moon mantra benefits a person with appearance on the outside while it also blesses their devotees with good health, creativity, and intellect. Overall, specific chanting, yoga practice, and moon meditation are the three modalities for this ministry intervention. The contemporary concern for rooting and grounding is connected to the introspection that is received from lunar energy. Thus, while facing oppression and aiming for liberation, these main practices seem essential. Lastly, these practices could be implemented for theater classes and/or the intention is to witness the trauma in the body as it arises in the practice.
Orbit of the Moon
This ministry intervention reveals feedback between ritual mood and theatrical mode, while implementing Lectio visceralis as a “form of prayer/reflection in which participants gently create sculptures with their own bodies, and then reflect on these sculptures to discern spiritual insight.” This form of prayer/reflection draws from critical pedagogy and participatory aesthetics. “Throughout history, Christians have practiced different kinds of lectio. They have ruminated on Scripture (classic lectio divina); on treasured stories that they heard and remembered; on natural beauty, icons, artworks, and images in stained glass.” These variant practices may also be reflected among Hindus and in Dharma traditions, as noticed in iconography and through means of worshipping the deity.
I am classifying this interfaith ministry intervention as the “Orbit of the Moon,” acknowledging the Moon orbiting the Earth upon an elliptical revolution, while holding space for liberation. The Moon is emphasized in this intervention for the sake of collective healing in the individual, toward the feminine nature and at areas of specific inner feminine wounds (which may allow for more inner balance and inspire healing of inner masculine wounds). During these practices, we will continue to contemplate lunar energy as a guide for healing, while accounting for both the Moon’s means for metaphysical exploration and the moon’s actual physical representation and its overall connection with the Earth.
For instance, the Moon’s center of gravity remains on the line between the centers of the Earth and Moon as the Earth completes its diurnal rotation. Elliptical revolution refers to the movement of celestial bodies, such as the Moon, in an oval-shaped path around the planet, primarily described by Kepler’s laws of planetary motion. The gravitational attraction that the Moon exerts on Earth is the cause of tides in both the ocean and the solid Earth; the Sun has a smaller tidal influence. The Moon’s center of gravity is also known as the barycenter, which is the point around which both the Earth and the Moon orbit. The path of the Earth–Moon system in its solar orbit is defined as the movement of this mutual center of gravity around the Sun.
The title for this ministry intervention relates to the toggling that occurs within the intrarelational area of the individual. “The underlying idea of Kuṇḍalinī Yoga is that the truth of the universe can be realized in and through the body” (Brown 1998, 180). Through visual imagery, internal dialogue, and relational techniques, this intra-relational intervention acknowledges the macrocosm (the universe) in the microcosm (individual) and aims to develop one’s reflective dyad’s capacity for reciprocal attunement, resonance, and responsiveness. In therapy, reflective dyads involve structured pairings where one partner explores a question while the other listens without judgment, fostering deeper understanding and empathy. In meditation, reflective dyads allow participants to engage in inquiry-based practices, enhancing self-awareness and social skills.
The main practices that I plan to share for this ministry operate upon honoring the moon, which is embodied by practicing rituals for moon worship. This intervention will be introduced with grounding and connecting with the Veda at hand resonating with three primary modes: Chandra Namaskar, “Om Chandraya Namaha” mantra, and Chandra Yantra. In cosmology, Chandra is known to have many different names relative to her different qualities and actions. If you would like to practice these rituals, join me in a mantra workshop dedicated to Chandra, and the Divine Feminine. These rituals help to develop peace, faith, receptivity and surrender. We will practice the rituals related to the Moon Salutation (Chandra Namaskar).
Overall, chanting the mantra is known to benefit a person with immense inner beauty and a younger-looking appearance on the outside. It pleases and builds a faithful relationship with the Moon deity, who, in turn, blesses their devotees with good health, self-confidence, creativity, and intellect. After entering ritual mode through these practices, we now turn to theatrical mode and look to pedagogy, the Theatre of the Oppressed and holistic theology of liberation. During these theatre arts, we will continue to contemplate the place of the moon for both physical representation and metaphysical exploration, upon reflection and introspection. There will be three Techniques applied from the “Tree of Theatre of the Oppressed.”
(1.) The first Technique known as Games – involves a de-mechanization of the body, which may have become alienated to the self, due to repetitive tasks of the day-to-day modern world. The goal is to retrieve the innermost essence that conceals the true self, known as the atman for Hindus, and the soul for Christians. The casual body is considered the seed of the subtle body and the gross body, in yogic knowledge and practice. Thus, it seems essential to first retrieve connection with this innermost essence, before proceeding with practices related to the social body and body politic.
In the “Tree of Theatre of the Oppressed,” Games is placed at the bed of the soil from which the roots of Sound, Image, and Word grow in the Earth. By rooting the Earth through sound, image, and/or word, an individual comes to have a sense of ethics connected to solidarity and philosophy, as well as a sense of politics connected to multiplication and history. Games bring sensory dialogue that remind the individual self that fruits that fall to the ground can serve to reproduce themselves by multiplication, while the self may begin to sense solidarity with the group as individuals share their own oppressions to the group.
The main part of Games applied in this intervention is sound, which requires creative freedom to entail a personal experience through a vocal expression. The group will gather in a circle and contemplate silently a potent time that comes to mind, in which one felt that their inner feminine or femininity was being suppressed or hindered. Then upon contemplation, consider a sound to vocalize to drop into this memory. When sharing this initial sound, the group will hold space for further vocal expressions to transform out of the original expression. The group can choose to share vocal expressions one at a time or together as a group, with the sound being expressed and transformed at the center.
(2.) The second Technique is known as Image Theatre – involving the use of the word that is paired with an action in the social world or social imagination. It is important to recognize the effect of intersecting realities as well as the cause of specific perceptions, which are influenced by relationships. The goal is to realize the subtle body in which we form our support group or social circle. The key is to reflect on areas in the social body where there can be transformation by seeing specific inner parts and how they relate with others.
In the “Tree of Theatre of the Oppressed,” Image Theatre is placed at the center of the tree from which the branches of Newspaper Theatre and Rainbow of Desire grow out in the surrounding environment. We may consider the relationship between the Moon and the Earth, and the Earth-Moon system. The core of the Earth is composed of an inner and outer core, with a combined thickness of approximately 3,471 kilometers (2,157 miles). The size of the Moon is approximately 3,474 kilometers (2,159 miles) in diameter, making it about one-quarter the size of Earth yet merely the same size as the Earth’s core.
The main part of Image Theatre applied in this intervention is introspective, which enables the theatricalization of introjected oppressions. We may consider how the Moon mirrors the core of the Earth, in size and upon gravitational force. When applying the Introspective Techniques in Image Theatre, such as Rainbow of Desires, “shows that if an internal oppression exists, it is because it comes from some barracks or other, exterior to the subjectivity of the subject.” The group will gather in a circle and present images or statues representing an energy or part of yourself that feels oppressive, such as your inner critic or inner tyrant. After everybody shares their image of oppression, the group can choose to share stories in relation to their experience as well as reflection on internal oppression.
(3.) The third Technique is known as Form Theatre – involving resources of all known theatrical forms. “Those we call Spect-actors are invited to come on stage and reveal by means of theatre – rather than by just using words – the thoughts, desires and strategies that can suggest…a palette of possible alternatives of their own invention.” In this case scenario, we are establishing a scene of oppression that was experienced by one of the members in the group, and reenacting the moment amongst the Spect-actors until the group realizes a transformative process through this practice. The aim is to consider a common thread of repression in the body politic and a relatable challenge experienced in the gross body.
In the “Tree of Theatre of the Oppressed,” Form Theatre is placed at the top of the tree from which the branches of Direct Actions, Legislative Theatre, and Invisible Theatre grow in the surrounding environment. “The objective is to show that these internalized oppressions have their origin in, and retain an intimate relation with, our social life.” The goal is to appreciate the social body that has been amended during the intervention, with prayer and reflection, ritual and practice. Now that a social body has come together in its vulnerability, especially after we each chose to take roots upon the experience of our individual bodies, we aim to make a positive mark in the body politic.
The main part of Form Theatre applied in this intervention is transformative, which enables the transformation in the direction of liberation. “This theatre should be a rehearsal for action in real life, rather than an end in itself.” Now reflecting on internal challenges or obstacles that you are facing in your daily life, contemplate on an event or occurrence (such as a trauma) that you feel in either influencing or attracting this challenge, and/or hindering your ability to overcome an obstacle at this time. Then each member in the group will share their reflection and contemplation, and the group will decide to act as Spect-actors to reenact the event, and then this event can be reinvented in different ways, with actions and words, upon the choice of the group members.
Conclusion
The main premise of this ministry intervention is to acknowledge the inner feminine through modalities directly in correspondence with lunar energy. The value of this ministry intervention is that it may be implemented within any worship space, especially those including theatre arts or healing arts. Furthermore, putting energy into theatre arts is an essential pillar to establishing a ministry service and production company. As an individual who believes all is of the Goddess and the gods and goddesses come from the Great Goddess, I recognize that not everybody believes in this universal perspective. Therefore, I aim to direct attention toward inner balance as a spiritual leader and I aim to hold space for interfaith dialogue as a person-of-faith, but I do not intend to impose my perspective onto others while implementing this ministry intervention. Overall, when connecting theatre to theology, I initially take into consideration cosmology as well as the notion of the whole and its parts – in relation rather than assumption.
Chapter two
CHAPTER 2. Embodying Music: An Acoustemology of Just Truth
Upon my pathway of establishing and generating a service ministry and production company based in Costa Rica, one of my goals is to create music videos with devotional musicians. Cinematography musicology is the study of how music interacts with visual elements in film, exploring the relationship between sound, music, and cinematography. In Film/Music Analysis, A Film Studies Approach, Emilio Audissino (2025) states that music “can replicate some visual and rhythmic configurations (as is the case with the dark light/dark timbre and fast editing/fast music coupling), but music can also replicate gestural and emotional configurations” (2025, 114). Musicologists can study how music shapes audience emotions and enhances the narrative, revealing the integral relationship between music and storytelling in cinema. Before creating devotional music videos in this area, I am finding it essential to visit local congregations and consider the cross-cultural phenomena in relation to devotion within the contemporary.
Centroamérica and the Iberian Peninsula in Eurasia potentially share strong devotional music networks with East and South Asia. The cultural intersections of these regions are an unraveling of contemporary phenomenon, as devotional musicians become world musicians. The language mergences lend to español as the predominant language for the audience, while English singer-songwriters offer the transmission of mantra and chanting traditions. Simply aligning musicology and geography, I study these land regions and their cultural intersections in relation to forest chaplaincy and interfaith dialogue. While devotional musicians travel to different regions, I consider how virtue or dharma is passed through singer-songwriters offering their intuition. Field evaluations are offered through the ethnographic lens of Feld’s “acoustemology,” which “joins acoustics to epistemology to investigate sound-ing and listening as a knowing-in-action: a knowing-with and knowing-through the audible” (Feld 2015, 12). Fieldwork with this epistemology is focused through the craft of cinematography, of and for music performance—holding more space for singer-songwriters to perform their songs.
With the goal of creating devotional music videos and holding space for musical performance or prayerful song, I continue to consider the field of cinematography musicology. This field combines elements from various disciplines to analyze the impact of music on narratives and audience experiences. The field also investigates how source music contributes to the authenticity of a setting and how composers use techniques like leitmotifs to create continuity and thematic depth throughout the visual representation. Upon a film/music analysis, Audissino (2025) explores Gestalt qualities and the audiovisual isomorphism, or “the so-called “parallel/synchronous” audiovisual relationship, one in which music “communicates” the same thing as the visual, because these instances—the majority of interactions between music and film—are generally neglected within the dominant communications model” (2025, 114). While analyzing the structure and themes in devotional music, I plan to draw attention to the intersections of musicalities in my area: mantra of bhakti, lyaric of rastafari, and catholic litany.
Mantra of Bhakti
In “The Universe of the Mantra,” Rohini Bakshi (2017) offers an exploration of mantra's significance and reveals its evolution from ancient Vedic poetry to complex rituals, philosophical contemplation, and practical applications across various aspects of life. “Like the term dharma, mantra is a plurivalent word, making it hard to translate as one word into another language. Created from the Sanskrit root √man (to think, contemplate and meditate) and the suffix “tra” which supplies instrumentality, etymologically mantra can be defined as that which facilitates thinking and meditation” (Bakshi 2017). This foundational significance of mantra is implemented into kirtan and devotional music, where musical performance is seen and felt as prayer.
Mantra is a concept known to have incessantly re-invent itself to remain not just relevant, but central to culture, with its continuity surviving real and imagined discontinuities in Hinduism. “So much so, that the history of religious life in India might be read plausibly as the history of mantras. India is not merely or even principally the land of Vedānta, nor is it merely, though indeed it is, the land of Viṣṇu and Śiva … [India] is the land of mantra” (Bakshi 2017). The Bhakti movement in India involves sharing spaces through devotion and service. In “Translating Bhakti: Rethinking the Bhakti Movement as a Movement of Translation,” Nitya Pawar (2023) “advocates for a more inclusive view of translation that goes beyond language barriers. The Bhakti saints, acting as translators, showcase the dynamic relationship between experience, language, and societal criticism, enhancing the field of translation studies” (Pawar 2023, 45). Overall, a multilingual and multicultural space held by Shaiva and Vaishnava saints who began traveling to spread this idea of intense bhakti, leading a mass movement.
Lyaric of Rastafari
Traveling saints in the contemporary world move within multilingual and multicultural spaces, which has connected musicians to multiple movements. For instance, the Rastafari movement is multi-faceted and multi-dimensional, in relation to the individual and the collective. In “Rastafari Dialectism; The Epistemological Individualism and Collectivism of Rastafari,” Michael Barnett (2002) discusses the epistemology of the Rastafari movement in relation to the lyaric of Rastafari, which is heard in Reggae music. The dialectic of the epistemological individualism and epistemological collectivism of Rastafari “centers largely on the I and I concept which affirms that knowledge resides in the soul and is teased out with introspection, in this sense we need not rely on anyone to give us knowledge, as the knowledge lies within us” (2002, 10). In the lyaric of Rastafari, the pronoun “I” is often used to express unity and connection to the divine, as in “I-and-I,” replacing negative terms with positive ones, and reflecting beliefs in peace, love, and the interconnectedness of all beings.
In The Encyclopedia of Caribbean Religions, Kenneth Bilby (2013) publishes “Traditional Music (of Rastafari),” which emphasizes the traditional musical forms that met and mingled to form this music. “Count Ossie and others helped to re-Africanized popular songs in Jamaica with the introduction of the Rastafari drum ensemble into the then-emerging ska form” (Bilby 2013, 788). There is an emphasis on Revivalism, while bringing forward a variety of musical traditions, with adaptability in the application of different Jamaican musical styles. “In the urban Rastafari gatherings of this early period, music was characterized by hymns and choral chants, sometimes accompanied by a shaka (rattle), rhumba box, and scraper” (2013, 788). Bilby offers context to the resulting transfusion of this manifested into Hispanophone Caribbean music, particularly influenced by “buru” — a specific dance-drumming tradition and a generic label covering a variety of African-derived styles.
Devotion of La Negrita
The Catholic Church has a rich tradition of veneration and devotion to the Blessed Virgin Mary, which has led to the formation of various Marian movements. In The Virgin Mary across Cultures: Devotion among Costa Rican Catholic and Finnish Orthodox Women, Elina Vuola (2019) offers a comparative analysis based on her ethnographic fieldwork. “I had become curious about this local personification of the Virgin Mary, whom Costa Ricans affectionately call La Negrita, the Little Black One. I decided to go to the basilica and learn more about the devotion” (Vuola 2019, 1). The story of La Negrita dates back to August 2, 1635. “ People from all parts of the country walk on their knees, on foot and some even crawl as they make their way to the Basilica in honor of La Negrita. A mass is conducted by a reggaeton-singing priest and swarmed by millions of devotees worldwide to join in both the jolly and solemn celebration” (Fenelon 2018). Millions of tokens below the church shrine have been left as well as awards to show their gratitude to the little sacred stone.
La Negrita, or the Black Madonna, is known as the Patron Saint of Costa Rica. “In 1635, a young Tico, or native, girl looking for firewood in the forest saw a peculiar black rock in the shape of a doll that was sitting on top of a large boulder. A mysterious image of a woman and child was engraved on it. The image appeared to be that of the Blessed Virgin Mary holding Baby Jesus. Thinking that it was a wonderful toy, the girl took the rock home with her and placed it among her belongings. The next day, [while] she was gathering firewood, she discovered the “doll” sitting on the rock where she had originally found it” (2011). This tradition, born in 1635, reflects Costa Rica’s colonial Spanish influence and its enduring spiritual identity. Overall, tradition continues to signify Mary in the plan of salvation and her role within devotion.
Service Evaluation I
With open doors throughout the worship, this service was gradually alleviating and did not withhold liberation. The church is Jesuit-based with its own energetics and technological practice. I was gratified by the two large speakers that seemed to have accumulated in the space since my last attendance. Entering the church always seems to be met with a layer of reluctance internally, yet I feel a gradual lift in the atmosphere and begin to feel more welcomed by other members in the church, though I am not wearing a mantilla like most women in the room. There is a knowing that sensitivity is encouraged in the room, as people embrace calm and together, sensing that there are shared intrinsic values and felt qualities. The music is contemporary, with two separate uses of the church speakers throughout the service. Overall, the music played through the speakers at the end of the service could hold you in the space forever.
Latin Land
Although I was born in the United States, I have more readily come to embrace Chrisitan tradition while having visited multiple congregations across Costa Rica. During my time in and studies regarding the Republic of Costa Rica, I have come to find that the Christianity that is practiced in daily life and interpersonal interaction does not generally inherit or reinterpret a specific relationship to a secular sphere (possibly unlike the United States of America). I could potentially argue that it is the mediatization of religion in the United States that seemed to have aggregated my perception of traditions that are being embodied by main citizens daily. In “Skinny Jeans in the Sanctuary: The Hipster Christian Subculture,” Caroline Barnett (2021) explores the ideology of hipsters and evangelical Christians, with both manifesting from a tension between religion and secular spaces in their treatment of young people. Overall, though being caught in this tension of the religion and secular earlier in my life, this tension seems to have eased during my time outside of the United States and inside Costa Rica.
Most of my time has been spent in and around Chirripo mountain, I have visited many congregations across the country, including areas near Jaco and Nosara. Through the years, I have witnessed the formation of places of worship from Dharma traditions based on the notion of a retreat, while most of the established places of worship in Costa Rica represent Roman Catholic tradition. Within such a land, where I do not notice a secular tension, I have been finding myself more willingly stepping into public places of worship, such as churches and spaces of congregations. Through this experience, I have found that each place of worship has its own architecture that emphasizes the style of music played; the larger cathedrals tend to have a pipe organ and a wire harp, while smaller churches seem to have more contemporary influences.
Worship Service
The first time I visited this Jesuit church, it was an evening when the doors were open on a Thursday. This experience was my first time experiencing an exorcism in a public space, while the entire experience happened in the Spanish language. It was after my first week in the mountain, and it has since been two years since I had stepped foot in this space church in the forest. Observing a worship service in the morning offered a contrasting way to experience the place of worship, while noticing how the church carries over the same themes of family roles and holding space for the whole person. I wish to further reflect on my first evening experience at this church, while it was intriguing to enter a service with the idea of a service evaluation at hand. Overall, choosing to observe a worship service and documenting the experience encourages ethnographic fieldwork and reflection, while inspired by the growing knowledge base in anthropology and religious studies.
Observing a worship service offered an initial inquiry into the space as to whether I had the right to observe. Nonetheless, this very internal feedback of a contemplation ran in parallel and coalesced with the words written on the two screens at the wall of the stage. “El proceso es la ruta hacia el propósito.” In English, this means, “The process is the path toward the purpose.” These words were offered to the space through digital means, replicated on two flat screen televisions mounted on the wall. I had been also wondering whether these televisions were present two years prior, while above the same platform of worship where the mother and a group of female relatives of the exorcized had faced to kneel in weeping. The minister, this sun-filled morning, was standing below the platform, on the same wooden floor panels as those sitting in the seats, just as the minister and exorcist of the evening service.
Music As Substructure
The church holds space for a service with wide open doors and windows, all around the single roomed infrastructure, which seems to invite in those in the area with sounds rippling out of the building. The loud audio playing out the speakers during the evening service was the cause of my awareness of and attraction to the church, while I realized the speakers had a similar affect of inviting me into the morning service. There are two speakers, with one off left side laying on its side and one right in the center of the stage that propped higher up on a tripod. The speakers enhance the voice of the minister, while amplifying the soundscape of the church, while always playing a layer of music. Throughout the sermon, there was an electronic piano track playing in the background during the sermon, a track which sounded of a down tempo, with two keys moving to three keys to offset. The track seemed to be playing on replay, while the minister shared his longevity through the main microphone. Overall, I noticed the music as carpet or an underlayer in the environment that gently guided and carried the space in cohesion.
The youth band that performed live at the end of the worship service was really inspiring, as I was realizing more of an unraveling embracing of culture as well as a gradual immersion of a wide range of instruments by young people in the area. Along with the minister being younger than the previous minister, the presence of youth also emphasized how there is religious awareness and participation in this area. Further ethnographic fieldwork and qualitative research seems necessary to consider whether these youth and young people. It is interesting to consider whether the embrace of technology and imbibing a fresh feeling that someone like Caroline Barnett may consider “hip,” in relation to hipster subculture, and whether there is a secular relation. Overall, the music did not seem to form an overarching narrative with the sermon and the rest of the service, but the music does reveal a changing of times with these technologies and further contemplation in the direction of change seems necessary.
Service Evaluation II
The cinematography of a hybrid worship service really matters, in which case taking time to plan the art of the craft is essential for ministry. I am finding the presence and offering of kirtan online, which seems to also be developing a network for devotees and devotional musicians. For this hybrid worship service (in-person and online), the camera is placed at the center of the room amongst those present in the room. The camera person stays in one place, which seems to be directly in the center of the room, while the musicians are more aligned with the back wall. The video recording is of a long take and a single shot, with one camera angle. The benefit of having the camera stationary (with some moments of zooming in and panning across), is an immersive offering for the viewer to station their own senses and gradually sense a meditative stillness and ongoing focus on the prayer and devotion. The service was carried through with a handful of bhakti and prayer with multiple areas of devotion, while the first mantra and song recorded was Om Ganesha with Sam Garrett and Mollie Mendoza.
Om Ganesha
This mantra is a prominent invocation within the commencement of a kirtan. Devotion for Ganesha, the child of Shiva and Pavarti, is common across Hindu branches, though it seems to be most popular in Bombay and southern and western India. Ganesha is known as the creator and remover of obstacles, bestower of happiness, and eliminator of sorrow. Hindus pray and make offerings to him before beginning a journey, buying a house, starting a performance, or launching a business venture. He is also known as Ganapati, the Lord of the Ganas, and is often depicted with a huge pot belly, slightly dwarfish, sitting like a Buddha or riding on a five-headed cobra or a rat. In the iconography presented, Ganesha is sitting on a lotus, which often represents the balance between spiritual enlightenment and worldly prosperity. No matter the branch of Hinduism today, this mantra is typically a part of the common kirtan repertoire, and generally to commence any process.
In West India, Ganesha Bajans are meant to support in what Ganesha is revered for, as a remover of obstacles and the bringer of good luck. “Broadly, to bhaj is to sing, dance and remain invested in the name of God so much as that you feel a oneness with him; either alone or within a group. The word “bhakti” is translated to mean devotion, but if the understanding that devotion is very personal thing, one might want to look at the meaning of bhakti in a new light that is in the domain of public” (Pawar 2023, 49). Bhakti or devotion through mantra for Ganesha represents an overall graciousness for tradition and power of divine love. His association with rats comes from the ability of rats to gnaw through anything and remove obstacles. Ganesha is also known as Ganapati, the Lord of the Ganas, and is often pictured next to his mount, the rat, symbolizing the ability to get in anywhere. Presented here is Ganesha at the center while in symbiosis with his environment and next to his mount.
Hybrid Worship Service (in-person + online)
With the camera pointed directly at the altar, where the musicians surround themselves with their instruments for kirtan, this worship service felt focused and stationed at the center. The kirtan that was recorded with a single-take by a steady cinematographer and is now available for devotees on YouTube. The worship service is titled “Om Ganesha.” I was gratified by finding that the camera was being handheld, and though the cameraperson occasionally zoomed into and panned across the musicians, the cameraperson seemed to remain stationary which offered a stilling and grounded feeling as a viewer. This sensation also seemed to lend a deeper access into the space as a virtual viewer, almost feeling as though one is present in the space and one with the audience in the room. The music involves a chanting of mantra interwoven with a singing amongst the group, with each playing their own individual instrument. Overall, the musicians were playing in front of a set of microphones, which seemed to improve the sound quality for those in the room as well as for those online.
The worship service consisted of musicians Sam Garrett on vocals and guitar, Mollie Mendoza on harmonium and vocals, Regina Rhythm on percussion (calabash) and harmonies, and Leon Marley Itzler on bass. Mollie Mendoza introduces: “Namaste, welcome everyone. Thank you for joining us in this song. And today we will be Chanting to the deity Ganesha. This is an invocation to that which removes obstacles. Helps us remove anything that is standing in our way that we no longer need to be holding. And so as we invoke the energy of Ganesha, we invite just as with every exhale, we release, we let go, we take a moment to pause, to dive inside and to allow all that has been held to dissolve. Jah Ganesha.” Upon commencing the song, everybody closes their eyes and begins playing their instruments, while those in the room join in on the chanting, Om Gan Ganapataye Namah ॐ गं गणपतये नम:
Sustainable Ways to Construct Service
For those viewing online, broadcasters of the worship service may encourage people to visit their altar at home or otherwise create an altar nearby the computer for the service. Devotees may already have representations of the deity on their altar, along with mentors and teachers for guiding the service. With this in mind, sustainable ways to construct service include encouraging the viewers to participate in worship at home in their own way. After the recording has been posted online, a broadcaster can set the tone of the conversation by writing a piece in the description box to invoke contemplation and encourage conversation in the comments. Another sustainable process is encouraging reciprocity, and having a direct way for participants to send footage of the service. The key is for a two way street, to form a network that can create media productions together for the long run. The cinematography of a hybrid worship service really matters, in which case taking time to plan the art of the craft is essential for ministry.
Perhaps construct a film crew before constructing a hybrid worship, also for team building and space holding in grace. With this in mind, we must think in terms of three layers of filmmaking: pre-production, production, and post production. The crew can plan ahead of time for sound design and camera angles. Some options for the camera include immersive, yet stationary or spherical, and with motion of camera and with other camera shots synced up in post production. If the service is to be shared online after the initial recording, there could be more attention put toward post production. With the footage and material sent from those at the original worship, post production can really get a feel for the music when editing the footage and assimilate the documented performance when adding in more materials to the production. Succeeding with audiography and cinematography can improve the overall production, benefiting the streaming and potentially increasing a network for devotional musicians.
Repertoire Collection and Justification
With a focus on personal spirituality and forest chaplaincy, this collection has been gathered as a response to experiences that predispose individuals for spiritual awakening and spiritual reflection, such as “issues concerning inner being, search for meaning, bereavement and death, and other religious dilemmas” (Maximo 2019, 124). In Bereavement and Final Saṃskāra (Antyeṣṭi) in Hindu Tradition, Sri Dhira Chaitanya (2005) emphasizes the presence of the Veda and how Vedic tradition establishes the authenticity of the Vedas. “Another example of how the Vedas serve as an unknown means for a known end is by providing the means for self-knowledge, knowing the essential nature of Oneself” (2005, 14). Through this process, one develops trust in the words of the Vedas, especially in regard to the unknown and means to achieve ends. Virtue and the very notion of preserving universal harmony is known as Dharma, in which resonance amplifies connection with harmony.
The selected list of songs for sermon were chosen for the sake of an inevitable intersection of regions across the world, while considering shared sentiments of virtue. The main account is to consider how Dharma traditions, and particularly Vedic tradition, continues to be transmitted by traveling bhakta and devotional musician Sam Garrett, who is also connecting in Rastrafian roots and offering bilingual songs with Spanish lyrics. Sam Garret implements Sanskrit mantras and amplifies the liturgical presence, while acknowledging his mentors and particularly his spiritual teacher Mooji Baba. “With respect to self-knowledge, tradition has established the truth of the words of the Vedas as a means of knowing oneself. Self-knowledge has been passed down from one generation to the next, in an unbroken line of teaching tradition to the present day, and is available for any individual to access” (Chaitanya 2005, 14). Overall, a Bhakti saint is guided by understanding the principles of Dharma, which bring ease and insights for issues concerning inner being and the search for meaning.
Sanskrit Liturgical Music
Sanskrit stems from many traditions, and particularly within Hinduism where there are many branches with variant perspectives. In the introduction of her translation and commentary of the Devī Gītā, C. Mackenzie Brown. (1998) writes, “Between the time of composition of the Bhagavad Gītā [where Vaishnava saints orient] and of the Devī Gītā, in addition to the arising of Sakta-orientated bhakti, there were two other major philosophical and religious developments that directly or indirectly impacted almost all of the subsequent Hindu tradition, and are intricately intertwined with Devī Gītā” (Brown 1998, 12), providing clarity for the Sakta perspective. In Saiva Tantra a Way of Self Awareness, L. N. Sharma (1981) provides clarity for the Saiva perspective, “Mantra as the pre-eminent technique and symbolical form of Saiva tantra. Sound is the unifying stream that grounds the reality” (Sharma 1981, 87). The Agama scripture is where Shaiva saints signify this notion, while Hindus may come to realize this truth of mantra and sound through their own perspective and particular lineage.
Sound studies in anthropology and theology find roots within Hindu studies because of many conceptualizations, with one being Sabda. “That Sabda or any form of sound also has similar or greater impact – cannot be believed or realized so clearly. Even the visible effects of music are found to vary according to the psychology or emotional state of the subject and are therefore experienced in varied contexts and intensities” (Acharya 2003, 11). With the Sanskrit alphabet symbolizing the entirety of creation made manifest through sound. “Each letter is itself a mantra, and a divinity. Taken as a whole, they represent the mantric body of the Kundalini, who is none other than the Sabda-Brahman—the pure consciousness in the form of the primal, unarticulated sound that is in all beings sandwich emerges from the primal point (bindu)” (Brown 1998, 187). Overall, in both Saivite and Sakta yoga, the sahasrara is where reunion and inner union of the masculine and feminine, where one becomes in tune with the cosmic rhythm.
Songs for Sermon
La Luz / Raffa Martinez and Sam Garrett
https://youtu.be/d3xyUJ8g24g?si=mG3THBlF5_LInSz5
This song has made it to the top of the list, while considering a viable recognition of at least three layers of cultural intersections that place one in the mountains and where rivers of traditions merge at pura vida. Seeing the Blue Morpho Butterfly on the far-right corner of this image while listening to La Luz and playing the cajon placed me right where I am upon a beautiful synchronicity of happening to see the butterfly. Krishna playing the flute alongside the butterfly seems to signify the butterfly in the gross body and Krishna in the subtle body. The question is where is the casual body, while one may initially say at the center where the musicians touch. Considering the song name, “La Luz,” or The Light, the light rays from a central source of light takes over in my contemplation as the causal body in this image.
In Bereavement and Final Saṃskāra (Antyeṣṭi) in Hindu Tradition, Sri Dhira Chaitanya (2005) states, “According to the model presented in the Vedic tradition, an individual is made up of gross, subtle and causal bodies” (Chaitanya 2005, 71). To conceptualize the image presented for this song a macrocosm of the individual as microcosm, offers a connection to the threads of self that may be revealed through an image, viz. an iconography forming through an album or record cover. “Whereas the gross body can be perceived and objectified by the sense organs, the subtle body is not available for sense perception. However, the subtle body can be objectified cognitively to an extent, as when one observes one’s thoughts, feelings and memories. One experiences the physical world during the waking state of experience, by means of the gross and subtle bodies. One experiences an inner subjective world by the subtle body, while totally preoccupied with thought or while in the dream state” (2005, 71). Overall, this contemporary Latin song offers space for iconography of Lord Krishna and iconology of Hare Krishna mantra.
I Choose to Live in Love (Lakshmi) / Sam Garrett and Mollie Mendoza
https://youtu.be/pOL66P0FdPQ?si=LInkbY6zU47S2WUx
In this record, Mollie Mendoza commences the prayer, “Bringing an awareness to the sense of lack that so often we hold, and instead infusing our heart, our life, our whole being with this sense of “I am enough. I have enough and I do enough. And so we sing for Lakshmi.” Sam Garrett starts the song with the guitar, setting up the words, “I sing like the birds. I grow like the trees. I choose to live in love. I am joy. I am ease.” These words are to be chanted with the group several times, and then the group layers in with the mantra, “Om Sri Maha Lakshmiyei Namah” which may be translated as “Salutations to the great Goddess Lakshmi.” The group then continues to weave the initial words of affirmation with the mantra, singing and chanting them every other set of motion. Then Sam Garrett guides the group to sing, “I was softly on this Earth in the Light of God’s name. I walk softly on this Earth in the Light of God’s name.” These words are sung in repetition, until Sam says, “...softly in the Light of Your name.”
Subsequent to Sam’s turn of “in the Light of God’s name” to “in the Light of Your name,” Mollie affirms, “Bringing the energy of abundance. Sense of enoughness to permeate the whole being. Seeing all the beauty of knowing that we are truly enough.” Then the mantra. The record concludes with the words “...softly on this Earth in the Light of God’s name.” Upon the rootedness of the Great Goddess, with Lakṣmi as one of her various forms, C. Mackenzie Brown comments on the Devī Gītā, “The multiform Great Goddess not only dwells within this world, she is also embodied in it, thereby thoroughly sacralizing the world. Essential to such embodiment is the concrete specificity that characterizes” (Brown 1998, 239) embodiment on Earth. The specificity of mantra for Lakṣmi signifies a direct relational energy with the Earth, while specifying a goddess connects with the pīṭha, as “the ritual altar upon which one invokes the Goddess” (1998, 240). Overall, from a Sakta perspective, the all-embodying Great Goddess or MahaDev is acknowledged upon Sam’s lyrical shift from “God’s name” to “your name.”
MAMA - Sam Garrett and Mollie Mendoza
https://youtu.be/HvLNje4aC6c?si=aabukDen5lk1PFU4
- Lyrics -
Tierra, mi cuerpo
Agua, mi sangre
Aire, mi aliento
Y fuego, mi espíritu
•
Earth is my body
Water is my blood
Air is my breath
Fire is my spirit
•
I feel the earth calling us home, back to the heart to the wild unknown, humbled and gracious is where we belong, one family one tribe can we all get along. We call on the stars the rivers and trees, we learn from the mountains, the birds and the bees, we gather this sangha our roots grow down deep, beneath the surface beyond our beliefs.
We can come home children don’t be afraid, life is your teacher so don’t run away, stay wild and free raise your hands up and pray, this is our moment there’s only today.
Hey mamacita show us the way, we’ll no longer hide from the shadows and pain, we are alive, we are awake, we are the open and this is our faith.
•
Tierra, mi cuerpo
Agua, mi sangre
Aire, mi aliento
Y fuego, mi espíritu
•
I feel the Earth beneath my feet
I feel the life, within her leaves
I feel her song, in the rain that falls
I feel the warmth in her heart that calls
•
Hey Mama Hey Mama Hey
The lyrics of this song speak for themselves, while also offering a bilingual song to the world that is not technically claiming any one tradition but calling earth our home. The lyric, “Hey mamacita show us the way, we’ll no longer hide from the shadows and pain, we are alive, we are awake, we are the open and this is our faith.” To signify Mamacita is to be known for addressing a Latin woman, while in this context it seems to be speaking to Mother Nature, or other the Feminine Divine. It is also interesting to note that Sita in the Vedic tradition lived her life in the forest with her twin sons, and is known for her connection to Mother and the core of the Earth, especially upon the grief of being isolated after the decision made by Rama as king. These lyrics clearly are acknowledging culture and the life of people among Latin land with Mamacita, while seems essential to share back in Vedic tradition. Overall, these lyrics aim to address the four main elements of Earth, to honor the planet and it, itself, as a creator or Creator.
The cinematography seems to be offering the function of motion and the shift of power dynamics, while definitely employing the rule-of-thirds in filmmaking. In most of the shots, the individuals as lover and beloved are off to the right or left of the frame, while there are also many other shots where the individuals are walking or moving toward the center of the frame. This motion picture is one of my favorite creations as far as studying cinematography in the rainforest, which so seamlessly goes along with the lyrics of MAMA. The journey between the lover and beloved is offered to those a part of the dance, with a sensation of knowing the softness and sweetness of where Sam and Mollie are together at that particular time in their lives together. Overall, the vulnerability of devotional musicians and musicians in general in a motion picture emphasizes the intention and coalescence of the musical art and craft of cinematography.
Sam Garrett - I & I (Official Music Video)
https://youtu.be/9kGkwSPCzMw?si=6YtI5S5Eq6f02EEd
The cinematographers of this motion picture are brothers, Nick Waraksa and Nico Waraksa. The camera in the frame during one shot of this music video reminded me of the ethnographic filmmaking notion toward reflexivity. The entire creation breathes the sensitivity contemporary ethnographers aim for while holding space for interlocutors to the point of participatory ethnography and potentially letting individuals guide the course of the production. This also seems to invite viewers to participate and sense every drum beat to the core. “In other words, truth is often arrived at inter-subjectively via a collective process and not, in practice, in isolation. Even in the cases where much of an individual’s theological and ideological orientation in Rastafari is arrived at introspectively, there is reinforcement via collective, communal experiences” (Barnett 2002, 10). The video ends in a gathering, with a reaffirmation of identity and emphasis on “I an I” rather than “me and you.” The entire ethnographic process and immersive experience may be considered synced and synthesized upon that statement.
The lyrics of this song resonate with the dialectic of the epistemological individualism and epistemological collectivism of Rastafari, centering largely on the I and I concept. Whereby, affirming “that knowledge resides in the soul and is teased out with introspection, in this sense we need not rely on anyone to give us knowledge, as the knowledge lies within us” (Barnett 2002, 10). In “Towards a Just Worship, A Black Practitioner’s Methodology for Decolonizing Worship,” Alisha Lola Jones (2021) discusses the process of including “just” or “justice” in our worship. “The culture-bearer, one who cares and preserves the culture, is a living epistle whose transmission of the African-derived oral music tradition is designed to complete the performance. Through their life experience and seasoned mentorship, the true verification occurs in musicians’ performance practice and awareness of the song’s placement in everyday life” (2021, 16). In this case, the motion picture seems to be revealing Sam Garrett’s affirmation of identity and Rastafari-reasoning session upon his prayer and devotional song.
Sam Garrett | Higher Than the Mountains
https://youtu.be/PCSEub0i7Gk?si=cU62LBkVWbPnqRrA
The lyrics in this song as well as the deliverance and timing has brought tears to tears many times through the years. I could say that it is this song that inspired me to live in mountains in luscious forest, after living in the snow and desert most of my life. The meditative theme of finding one’s inner world in the mountains, to me, could not be any more true. The ocean has its own influence, while the mountains bring a sense of knowing of both unity and individuality. The record cover offers an image of Shiva, which corresponds with the individual in the mountains who is meditating for inner peace and may have dreadlocks. This does seem to be the space in which Sam Garrett resonates the most, though his devotional music is intentional and naturally includes other human faiths, Dharma traditions, and branches of Hinduism. The song leaves the listeners with a contemplative gesture to go deeper inward, while you may find soul family in the similar resonance.
The motion picture begins with Sam honoring his guru at the altar, while there then continues to be an offering of softness and connection throughout the music video. The Hindu gesture to Brahman as “one alone, without second” as eternal and unchanging seems to carry the substructure of this song, as an intrinsic truth felt by all in a shared ocean or universe. “When associated with Maya, Brahman appears in three successive forms or bodies, causal, subtle, and gross, which represent stages of manifestation of the material universe…Maya itself is not fully real, as it is not eternal (since it comes to and with knowledge) and is subject to change” (Brown 1998, 15). Sam seems to aim to offer comfort in distinguishing Brahman and Maya, with this awareness lending to a knowing of release and acceptance. The group in the room embraces this offer toward a sense of communion and appreciation of their presence together, while aware of the source of the world. Overall, this motion picture seems to be an example of what can happen when a network of people come together in terms of consent and sharing in video production.
Suitable For Interfaith Ministry
It is currently a time where interfaith is both inevitable and necessary. While aims toward interfaith ministry are inevitable within humanity, I ponder how we can assure these transmissions are met with an intentional impact of sharing traditions. Since it is necessary for interfaith ministry to occur, I wonder how we can hold space for traditions more justly. This exploration was meant to consider an acoustemology of the process in which there is a multiplicity of perspectives within Hinduism, while the Vedic tradition remains a unifying force that is met in multi-cultural spaces. Centroamérica is generally known for Catholicism and its admiration for the humility of Mother Mary, while also holding space for Catholic litany among saints that are revered for their connection with humanity and nature. Sam Garrett seems to be connecting the notions of virtue across different faiths while in tune with intrinsic values of the Latin land that may welcome him in Costa Rica, while emphasizing a substructure of virtue within human consciousness and favorably connected to the Divine Feminine.
This interfaith premise is experienced in his lyrics and multiple use of languages and considers how traditions are shared or how tradition is felt, as well as how faiths are known or how faith is embodied. Other prayer records by Sam Garrett include Light of Your Grace, Hallelujah, Gayatri Mantra with Mollie Mendoza. Sam seems to be most well-known for The Dance and the Wonder in relation to Shiva’s dance and selfhood, while One Family is his latest album reaching the Rastrifarian inside. If world artists and musicians continue to network within such an interfaith dialogue among traditions, I can imagine this will allow for a wholesome pathway of musicians such as Gauri Paighan with songs like “Behalf of Us.”
Conclusion
Musicologists examine how music influences audience perception and emotional responses in film, focusing on the components of scoring, source music, and the use of leitmotifs within cinematic narratives. With a focus on cinematography, there can be improved hybrid services as well as more music videos for devotional musicians. Personally, I contemplate how I can hold space for musicians in my area (such as with La Negrita in mind and heart), while participating in motion pictures. The key is considering specific parts of a tradition and the intricacies of a song, while focusing on the skills-building necessary to create quality cinema in worship spaces, as well as in cinema in relation to faith. Considering the multi-cultural and multi-lingual spaces that are increasingly a part of worship today, it is an honor to witness and consider the contemporary intersections. Finding purposeful action in art and music is already appealing on the spiritual journey, while focusing on the notions of virtue across many faiths becomes an integral part of spirituality, worship, creation, and all.
Chapter three
CHAPTER 3. Marginal Voice: Listening to Those Who Are Tuned Out
A chaplain may come to hear where worlds are sonically apprehended, and where there are shallower histories, yet with potentially deeper awareness into the whole — of the self and of the universe. Spiritual counseling in chaplaincy has adapted from pastoral counseling with the interdisciplinary use of theology and psychology for mediating care. In “The Role of Spiritual Counseling: Four Theoretical Orientations,” Grafton T. Eliason, Colleen Hanley, and Maria Leventis (2001) offer a comprehensive guide for considering Carl Jung’s psychodynamic contributions, embracing Frederick S. Perls’s Gestalt Therapy built upon existential and phenomenological approaches, and understanding the premise of cognitive behavior therapy (CBT). From these theoretical orientations, spiritual care and counseling seem to evolve dialectical behavior therapy (DBT), upon mindfulness, distress tolerance, emotion regulation, and interpersonal effectiveness. These theoretical orientations provide structured skills for emotional self-regulation, while reflecting on my professional experience in this paper, I aim to connect a focus on intrapersonal communication.
Background and Setting
A case from my professional experience that demonstrates spiritual care for a marginalized community is from my counseling position during the summer of 2020. Fiddleheads summer camp was operated by Seeds of Awareness in Berkeley, Oakland, San Francisco and Marin County. Fiddleheads was a fun and therapeutic environment that aimed to provide social skills instruction and emotional support to neurodiverse groups of children in Bay Area Regional Parks. Formed in 2010 to support children and their families, Fiddleheads was meant to be a holistic, heart centered therapeutic approach to social and emotional learning through play, storytelling, and mindfulness activities. My experience with Fiddleheads offered experience with licensed therapists and psychologists, while being a professional in training, focusing on improving competence for children while shedding light on the concept of neurodivergent learning styles.
Fiddleheads summer camp at Seeds of Awareness was known for building social and emotional skills, but the organization was permanently closed in 2021.
This made the summer of 2020 the last year of summer camp, which makes memories of this professional experience bittersweet. “Activities include[d] learning about nature, such as bullfrogs and bluegill nests, and developing skills like attention and impulse control. The camp [was] inclusive and honors neurodiversity, providing a warm and playful environment for children to grow and connect with nature and peers” (BPN 2020). Fiddleheads aimed to create a safe and stimulating environment for children and youth to experience and enhance their connections with their bodies, inner worlds, peers, and the natural environment. The organization closed later that year, lacking a way to properly navigate through the global pandemic. As a nonprofit that sacrificed itself at the turn of humanity, I aim to bring my professional experience with Fiddleheads into a clear focus on personal spirituality and forest chaplaincy.
Analysis
The moment that I feel most influenced my journey toward inward cultivation was when I found myself making an error, though this led to a group intervention with the team counselors and later a required evaluation by the supervising psychologist with Seeds of Awareness. In this case, I interrupted a conversation and found that this action had made matters worse by speaking. This case reminds me of what is mentioned by Paul C. Rosenblatt (2016) in “Cultural Competence and Humility” from the Handbook of Social Justice in Loss and Grief. Rosenblatt (2016) suggests we have been given a false promise that we can become “culturally competent via education and practice” (2016, 69). Overall, I feel that I had a false sense of confidence at this particular time due to my studies in anthropology, while it was similar to other circumstances in my life when I was acting out of a rescue mode that connects to my own origin of parts-work.
While working as a Fiddleheads summer camp counselor, I was working with another counselor whose brother had passed away. There were actually four counselors at the camp, with ten children in total. The groups were split up into five children that were meant to not share contact during summer 2020, due to protocols from the global pandemic. There was a tense time in the morning and afternoon when the groups would merge upon pick-up and drop-off. I ended up interrupting my co-counselor because she was talking with a mother of a child from the other group. The mother’s child was known to be non-verbal in the counseling setting, which brought a hyper awareness of how to treat and care for the child. My co-counselor was talking about her child who was non-verbal, and the mother seemed uncomfortable from my vision so I jumped into the conversation while trying to relate with reference to popular culture.
The challenges that seemed specific to the parties as members of the marginalized group was an overall feeling of not being heard. In this case, it was not only about non-verbal individuals being heard but their family members and the experiences had by such family members being understood. Further challenges met were having to face the mere lack of patience from a professional who is meant to be a safeguard in the field. Thus, this leads to a challenge with being able to share a safe environment, particularly what is meant to be a therapeutic setting and otherwise potentially healing. Another challenge may have been genuinely feeling connected to and thus not feeling one with the whole. This emphasized any tendency to feeling or projecting isolation upon any given environment because of other people’s fears. Overall, this circumstance heightened feelings of insecurity and brought up trauma for everybody involved.
Furthermore, the challenges that I faced as someone who does not have somebody in the family who is non-verbal was having more patience in conversation and potentially realizing some of the non-verbal social cues. It seemed that this may have been a regular occurrence for both the mother to hear unrelated statements about her non-verbal daughter, which made this an axis point that was trauma based. Furthermore, it seemed my co-counselor may have had a past of being interrupted, which added anxiety and anticipation to the moment especially as I started to interrupt. Overall, I find that when I am ungrounded I may tend to play out the fears of another from previous traumatic events. Here, I have come to embody the shadow and find that I have no other way to be, which I now recognize this challenge in myself, after developing more patience and presence to notice the subtleties within a merging of intersecting realities.
Objectives
As a means for addressing the challenge and potentially transforming the circumstance of this encounter, I envisioned finding the capacity to hold more space for the voice, in relation to all means of expression to share experiences. Holding space for the voice thus means for the self and for others, while feeling such inspiration after realizing sensitivities within marginal spaces. Therefore, it becomes essential to realize where the self necessitates to be heard, which can be heard internally or externally in different environments at different times, while also realizing where others necessitate to be heard. The main objective is thus actualizing harmony, which may require a series of moments for integration while simultaneously rooting in intrinsic inner peace. By focusing on how marginalized communities are heard, and on whom furthermore desire to be heard, a professional care practitioner can hear where worlds are sonically apprehended and where there are shallower histories yet potentially deeper awareness into the whole.
It is important to find and hold the right space to share one’s voice, otherwise one could not only get lost in the masses and be misunderstood, but also lose integrity and find one self in a counter active downward cycle. I now consider the process of grief and direct perpetuations of a marginal experience as explored in “The Significance of Political Grief: An Examination Through Major Global Events” published in 2025. “The cyclical nature of grief in this context often leads to further entrenchment of positions, inhibiting pathways to dialogue and reconciliation” (Thompson et al. 2025). It is key to be in a space that encourages dialogue, or otherwise be able to be the one that encourages dialogue in that space — without this, sharing is a lost cause. A chaplain may hold this space, convene upon nuanced contexts and amend the whole across many despite many gaps; yet, perhaps it will require understanding the dialectic between place and perception to potentially be a calming force and alleviate the cycle of grief.
Along with my academic background in anthropology and ethnographic fieldwork, these frameworks helped form my objective as well as guide me in the direction toward addressing grief and actualizing harmony upon ecological awareness. I appreciate the discourse stemming from the convergence of anthropology and phenomenology, also while bringing more into sound studies and audiography. Senses of Place was published in 1996 as a spate of writings on the subject of place, known for its interdisciplinary contributions. “Some of these frameworks are pointedly humanistic (Buttimer 1993; Entrikin 1991; J. Jackson 1994), emerging from a lineage of inquiry into place and lived experiences, particularly experiences of rootedness, uprootedness, or transrootedness (Bachelard 1964; Buttimer and Seamon 1980; Cosgrove 1984; Lowenthal 1985; Relph 1976; Tuan 1977)” (Feld and Basso 1996, 3). Overall, these frameworks for ethnography have facilitated my awareness and growing competence while aiming toward an emphasis on personal spirituality, while amending the whole within.
Together ethnographers and humanistic geographers aim to move beyond facile generalizations about place and interpret some of the ways people encounter places. The first essay in Senses of Place is by philosopher Edward S. Casey, offering a phenomenological prolegomena called “How to Get from Space to Place in a Fairly Short Stretch of Time.” Casey grapples with the interconnection between place and perception. “The primacy of perception is ultimately a primacy of the lived body — a body that is a creature of habitual cultural and social processes” (Casey 1996, 19). Casey introduces the concept of a knowing body for human ecology, which is based on Geertz’s conceptualization of local knowledge. This approach emphasizes the field of ecology, while acknowledging the presence of the human and the body.
Also in this volume, Senses of Place, Steven Feld (1996) published “Waterfalls of Song, An Acoustemology of Place Resounding in Bosavi, Papua New Guinea.” Feld visits the earlier words in the book by Edward S. Casey on perception and place. “Perceiving bodies are knowing bodies, and inseparable from what they know is culture as it imbues and shapes particular places. It is by bodies that places become cultural entities" (Casey 1996, 34). Feld responds to Casey’s statement while reflecting on his thirty years of ethnographic fieldwork with Kaluli people in Papua New Guinea.
“Which is to say, places make sense in good part because of how they are made sensual and how they are sensually voiced. Poetic and performative practices centralize the place of sense in maintaining a local sense of place. This is how a poetics flows from everyday experience, and how Kaluli imagination and practice make water an acoustemology of embodied resounding” (Feld 1996, 134).
Acoustemology was added to the vocabulary of sensorial-sonic studies as a means to argue the means of sonic presence and awareness, which I am inspired to connect with forest chaplaincy.
Feld states that “by and large, ethnographic and cultural-geographic work on senses of place has been dominated by the visualism deeply rooted in the European concept of landscape” (1996, 94). Feld includes how Denis Cosgrove (1984) analyzed two distinct notions of landscape, both sharing a pervasive visualism that merged in the West. In the first case, landscape came to denote the representation of the visible world, as the scenery viewed by the spectator. While in the second case, landscape is incorporated into the analytical concerns of academic geography to denote the integration of natural and human phenomena. It is further argued that these cases are intimately connected both historically and a way of appropriating the world through objectivity that is accorded to the faculty of sight. Thus, many anthropologists in the field of ethnomusicology have come to acknowledge a soundscape.
With this in mind, Feld suggests that “in contrast to the long history of the landscape idea in both artistic and scientific inquiry and representation, approaches to ways in which worlds are sonically apprehended have shallower histories” (1996, 94). Thus, marginal voice is the cause for the anthropological effect—that is the art of sound recording, editing, mixing, and sound design. Audiography not only resonates with the effect of recording voice, while also being the practiced way for the documentation of subaltern groups and individuals.
“Given recurring tendencies to essentialize vision as a characteristic of the West (e.g., Ong 1982), in polar opposition to a presumed centrality of sound, smell, and taste that is essentialized to non-Western cultural “others,” a reevaluation of sensory ratios must scrutinize how tendencies for sensory dominance always change contextually with bodily emplacement” (Feld 1996, 94).
That perspective informs Feld’s position on sound in sensory experience, specifically its implications for interpreting life-worlds of people, to be considered while grounding attention as a professional in any field, especially when working with marginalized communities.
Process
From a spiritual care perspective, my process for developing effective lines of communication and taking steps toward achieving interpersonal effectiveness was to continue to focus on sound studies as well as phenomenology. Furthermore, while feeling uncomfortable or in a position of uneasiness, I was not grounded in my center and seemed to fall into common projections. “The path to reconciliation is fraught with challenges yet essential for responding to political grief. Creating space for dialogues that recognise the nuanced contexts of Aboriginal experiences allows for greater understanding, empathy and compassion across communities” (Thompson et al. 2025). Since this encounter, I was gradually able to build a better connection with my co-counselor who is indigenous to the land and proudly represents Latin culture. After the group intervention with counselors and evaluation with the organization’s licensed psychologist, I was guided to hold more space in silence for the parents at summer camp.
With this in mind, I also consider how the organization was offering dialectic behavior therapy for its professionals in training, focusing on mindfulness, distress tolerance, emotion regulation, and interpersonal effectiveness. Seeds of Awareness had a keen focus on social competence and self-awareness, so the regular meetings with others were helpful to reinforce certain steps toward mindfulness and emotional regulation. I also felt the call to action to respond to this encounter was modeling distress tolerance as an organization, with the leaders immediately knowing this encounter needed to be addressed directly and individually. Seeds of Awareness allowed for a wholesome network to expand, which seems to require deep listening and compassion by each individual involved in the organization. Overall, due to this experience, I was inspired to have more awareness regarding interpersonal communication, which I sense is still rippling out and unraveling in my present life.
This professional experience was also a part of my practicum experience for my studies in education, which had inspired me to ask my co-counselor for an audio recorded interview. There was no intention to share this audiography publicly, while the interview seemed to allow her to open up and share more about her experience the day of the encounter. I also got to hear more about her brother who had recently passed away, which offered some space to share grief and allow for distress tolerance. My co-counselor was heavily involved in politics at this time, while she was still searching for a platform to share her voice. “Through an exploration of political grief experienced as a result of significant political events and regimes, it is clear that grief deeply intertwines with identity and political action. Further exploring this phenomenon can cast light on important issues that enable the forging of paths towards future resilience and collective action” (Thompson et al. 2025). I hope that our interview opened up more pathways for her personal expression and inspired internal direction to find where to share her story.
Learning Outcome
In “The Role of Spiritual Counseling: Four Theoretical Orientations,” Grafton T. Eliason, Colleen Hanley, and Maria Leventis (2001) offer a comprehensive guide of “four primary psychological theories: psychodynamic, existential/phenomenological, behavioral, and cognitive” (Eliason et al. 2001, 77). I consider this article for realizing pathways toward interpersonal communication, as the goal for both learning patience and holding space. I aim to acknowledge Carl Jung’s psychodynamic contributions and consider how Frederick S. Perls’s Gestalt Therapy can be applied here. “Jung’s contributions should not be ignored in the fields of religion, psychology, or counseling. His theories pose a thoughtful challenge to the Western mindset” (Eliason et al. 2001, 82). Rather than being the end product of our existence, the process of living in the shadow of our finitude becomes the focus and means for decolonizing.
Realizing opportunities for spiritual growth and psychic healing in the contemporary counseling setting seems to come from every angle of consciousness, with any given experience enlightening one of the internal and external processings. “Jung referred to experiences throughout human history as our collective unconscious. He believed that each of us received unconscious memories of these experiences and that they are brought to light as symbols, or archetypes” (Eliason et al. 2001, 81). Acknowledging the collective unconscious has brought advances in psychology, unraveling humility for those realizing; yet, fundamental questions surrounding human existence remain unanswered. “Jung’s insight into myth, metaphor, archetype, and ritual has provided an opportunity for spiritual growth and psychic healing in the contemporary counseling setting” (Eliason et al. 2001, 82). Jungian analysis also builds on existentialism and phenomenology, which are rooted in a philosophical context, potentially providing a framework from which one can view the world and life, the self and spirit.
With this in mind, it is also essential to consider explorations of Gestalt theory in the convergence of anthropology and phenomenology. “Drew Leder’s The Absent Body (1990) develops this line of critique to ask why, if the body is so central to sensory experience, if it so actively situates the subject, might it also be so experientially absent or out-of-focus. Why is the body not the direct thematic object of one’s attention and experience, and why does it recede from direct experience?” (Feld 1996, 92).
“This constitutes the necessary supplement to the Gestaltist figure-background description of perception. As Merleau-Ponty writes [in the Phenomenology of Perception, 1962]: ‘one’s own body is always the third term, always tacitly understood in the figure-background structure, and every figure stands out against the double horizon of external and bodily space’” (Leder 1990:13).
Feld suggests that Leder’s conjecture — as to why some bodily dimensions are experientially foregrounded, while other bodily dimensions are particularly backgrounded — relies on the same figure-ground gestalt.
Gestalt theory and existentialism, through Gestalt Therapy, “synthesizes the spiritual idea of self, human relationship, and divine relationship” (Eliason et al. 2001, 85).
“The basic word I-You can be spoken only with one’s whole being. The concentration and fusion into a whole being can never be accomplished by me, can never be accomplished without me. I require a You to become; becoming I, I say You. All actual life is encounter” (Buber, 1970, p. 62, Eliason et al. 2001, 85).
The philosophical and spiritual aspects of existentialism are absolutely vital in practice, both personally and professionally.
On any level, counselors must interact with clients empathetically, building the virtue of patience through a value system, participating in a mutual search for meaning. From this encounter, I learned that there is a necessity to continually study interpersonal communication and intrapersonal communication for both professional development and spiritual formation. For intrapersonal communication, I am now learning more about Internal Family System (IFS) and its mode with parts work, which circulates into the systems of an environment, a virtue, a cosmos, and a body. Husserl says, “every experience has its own horizon” and that we continually find ourselves in the midst of perceptual horizons, both the “internal” horizons of particular things (i.e., their immediate circumambience) and the “external” horizons that encompass a given scene as a whole” (Casey 1996, 17).
Conclusion
From this encounter at Fiddleheads summer camp, I learned there is always more unraveling in relation to conscious awareness, which has continued to lead me into a focus of a decolonization of the self. The main concern to remember is how specific ancient philosophies are embedded in the human consciousness, as well as layers of interpretations that ultimately lead to certain assumptions. I came to remember the intuitive sense that there is always an unknown that may continue to be unraveled in the moment, while the colonized mind seems to believe all is already known. Furthermore, it is important to know the consequences of trauma that lend to the cycle of grief, while allowing yourself as a professional to continually perceive more of the whole. I feel the more we study about history and trauma, the more we will have the strength and grounded nature to help another. The way I aim to offer care and move through grief, no matter the individual, is emphasizing the commonality of specifically political grief as well as encouraging intrapersonal communication for the individual’s own sense of agency.
Chapter four
CHAPTER 4. Perception in Chaplaincy Ethnography and Oscillation of Consciousness
In this capstone, I ground into forest chaplaincy as an activism with a theoretical lens in sociology of religion. The aim of this project is to hold space for a forest chapel, with a consideration of ritual studies. Ethnography of forest chaplaincy is meant to hold space for anthropology and social change. I aspired to demonstrate the potential contribution of Śākta theology, which is a major branch of Hindu theology, to the discourse on death and dying in interreligious chaplaincy. I am not writing this confessionally; I am not a Śakta Hindu in terms of initiation or ordination; I am using this theological lens as a methodological approach to a deeper understanding of the ontology of death and dying, and deontology within the Veda.
The ontology of death and dying is the field in which this capstone is located, with aspects of cosmology and musicology. By locating the virtue of this field, deontology is realized. In further words, by having a value system the realization of sacred law occurs, particularly in terms of death and dying. The values and wisdom that present within the Veda may be readily available upon the quest. More foci within chaplaincy includes facing internal battles such as moral injury, so one is brought to their very own unique approach for choice-making, which I suggest can be more readily understood through the study and ritual of the Veda.
With “Veda” as a sound, wisdom or knowledge, the “Vedas” refer to a set of sacred scriptures. The Vedas are considered “śruti,” meaning “what is heard,” and are regarded as the oldest scriptures of Hinduism, being preserved through oral tradition and central to Hindu philosophy and practice. Exploring discourse on death and dying with and through cosmology and musicology is a major part of this capstone, while aiming to hear the Veda is the primary. Forest chaplaincy and interfaith yoga as the involution of this capstone, encapsulates the dialogue in which this research is meant to take part in as well as amplify within the academy and humanity.
Perception in Chaplaincy
Through the process of learning more about soulcare, I have greater clarity about will and more awareness of gradual change that relates with spiritual care. My approach to spiritual care is to move like a sloth, while to consider the possibility of accompanying people in moments of disorientation. In other words, my aim is to move slowly with patience, listening to the environment and listening for ways of meeting spiritual needs. The interrelated groups that culminate Hinduism, as well as the interwoven connections between Dharma traditions bring a sense of communion and reason to find ways to have interfaith dialogue. Soulcare has allowed me to pay attention to the speed, acceleration, and motion in the direction of many aims during the process of professional chaplaincy and vocational practice.
At this time, I sense situations related to the reason for my early resonance with chaplaincy may be where I may be least effective. These specific situations are related to my mother battling cancer for a large portion of my childhood, as well as my own personal experience in a psychiatric hospital. I originally felt that chaplaincy is necessary in all hospitals, since there can be a sense of feeling out of touch. However, I do not think I will be effective in psychiatric care at this time, as I know it requires more competence and personal growth. Furthermore, I do wish to prioritize the pathway of motherhood, even over a vocational practice for the community. Lastly, because I am prone to live in rural areas, I suspect this will impede my ability to reach a wider network, as well as not feeling as relating with others to offer care in urban areas. Yet, living in the forest seems to offer more connection and relationality with those in the forest, so I suspect I can assist people here in small ways and gradually build self-efficacy.
In “Creating New Rituals,” Herbert Anderson, Edward Foley, and Kathleen A. Cahalan (2019) acknowledges that transitions require addressing ways to facilitate change and transformation, which may unfold through creating new rituals. Anderson et al. (2019) aim to dismantle one common presumption about rituals, which is “that tradition and repetition are essential for any authentic definition of ritual” (2019, 129). This assumption asserts that a true ritual requires a long history with a periodic reiteration, though there are many anthropologists and pastors who have come to define ritual in such a way. Anderson et al. acknowledge a more lucid ritual theorist, Ronald Grimes, who addresses the “inventability of a ritual.” With this at hand, Anderson et al. offer a few ironclad rules for the creation of new rituals, which may allow ministers and chaplains to feel comfortable and competent in creating new rituals.
While residing in the rainforest, there have already been moments where I was unsure of how to respond to death and dying, so I relied entirely on those around me to declare the next step. However, I am finding these rules offered by Anderson et al. (2019) to be inspiring and empowering, while now re-imagining that there is more I could have done in past instances and now I have a bit more confidence in offering my knowledge and insight to the moment. Anderson et al. list the rules, respect the chronological priority of the human story in the shaping of the ritual, allow a significant role for nonverbal symbols in this ritualizing, resist the compulsion to explain such action, attend to the particularity of the moment, and beware of overcomplicating the ritual (2019, 130). While at the same time, considering these rules as affirmed to me that there were certain times in my life where I did appropriately enact ritual.
In terms of the personal gifts that I bring to the work of spiritual care, I bring an extraverted intuition and am keen to feminine theology. I sense that this extraverted intuition brings an openness to multiple spiritual and wisdom traditions, while having a sense of oneness. C. Mackenzie Brown (1998) examines the message of universal energy (Śākti), as the Great Goddess (Maha Devī). The “relationship of the Devī’s aspect as the supreme feminine principle of the universe to the fundamental masculine principle, a relation usually expressed in terms of the interaction between Śakta and Śiva” (Brown 1998, 22). The two-fold dynamic relationship is viewed here to draw attention to both creation and liberation.
“The relationship may be one of dependency or codependency (in the strict meaning of the term), or it may be one of radical independence, or something in between. Tantra in general presupposes a bipolar view of ultimate reality, of the One unfolding into Two as the God and Goddess, associated with various other complementary opposites such as spirit and matter, consciousness and energy, passivity and activity. Both creation and liberation are seen as the result of the union or reunion of the two co-ultimate principles/deities” (1998, 22).
Whereby, Brown highlights the purification and transformation of the body are very important as a means for the old body to dissolve and for the body to become infused with divine breath. I have come to find deep reverence and resonance with this practice and connection, which allows for sacrality of daily life and deeper awareness within embodiment through ritual activities.
My personal vulnerabilities are womanhood and being a woman, as well as residing in the forest and really only holding the capacity to live in rural areas. The function of wilderness contact is acknowledged in Rita Sherma’s (2026) “On Ecopsychology and Biophilia.” “The mountains and forests were also claimed by the hermit’s abode, the guru’s ashram, and the many wandering ascetics who hoped to find realization in a darkened cave, or under a green canopy. Hindu sages (ṛṣis) left towns and villages and sought realization and wisdom in nature propelled by the intuition that the natural world provided the most suitable environment for communion with the Divine” (2026, 15). On behalf of ontology and lending to theology, the field of cosmology holds space for the cosmic vision and heavenly body that is prayed for in Earth frequency, particularly found in the Upanishads for forest living and deepening of perception. All of my vulnerabilities tend to be met well in the Tantric worldview, with deep purpose and an offering of contemplative practices, while I am not entirely sure where my life will lead.
Social Location (Ethnic/Religious/Cultural/Gender/Class Identity)
In “Why Chaplaincy at Asylum Centers is a Good Idea: A Care Ethics Perspective on Spiritual Care for Refugees,” Pieter Dronkers, Joanna Wojtkowiak, and Geert Smid (2023) focus on how chaplains can contribute to a climate of inclusion and respect.“ The professional identity of chaplains has “gradually shifted from a religiosity-based profession to a broader profession providing caring for all existential needs, away from institutional care provision to more individual spiritual support”” (2023, 4019). Dronkers et al. address that recent goals of chaplaincy have been identified, which is promoting worldview of promoting vitality and well-being, exercising freedom of religion, deepening spirituality, processing life events, and relational affirmation. “Chaplains, thus, accompany people in moments of disorientation, such as (forced) migration; they guide their search for the good in a world that is at times unfair and hurtful” (ibid.). Since chaplains can offer a conversation about the meaning of life, as well as moral dilemmas, hopes and fears, guilt and loss, Dronkers et al. suggest they can assist refugees.
Dronkers et al. (2023) explore how for refugees, religiosity can be a source of meaning and disorientation. “Spiritual and religious beliefs and practices have been found to be positively related to the well-being of refugees and a strategy to deal with the challenges and for instance, discrimination experienced in host countries” (2023, 4019). There are ways to contribute to an inclusive society in which both newcomers as well as other citizens feel at home and can find community. “Providing chaplaincy care is one way to acknowledge some of the specific needs that asylum seekers have, thus making them more fully part of “the circle of care” of host societies” (2023, 4027). These insights are important building blocks for a joint societal effort to build new connections and develop a healthier social body. Overall, the climate of inclusion and respect is often a part of the intention of many places of communion, while people have more of an opportunity to find out how their values and aims may be earnestly and genuinely shared.
In Vedic tradition, with the Vedas offering the four aims of human life, the most important and ultimate focus is liberation, while some may consider it as the path of salvation in Abrahamic traditions. The path of liberation with the Great Goddess as in the Song of the Goddess is truly “the realization of the identity of the self (or Self) and the Goddess” (Brown 1998, 47). By devoting to the Goddess, there is a generation or production of divine power to stimulate the creative and nurturing process of the cosmos. “Both ontologically and cosmologically, then, the Great Goddess fully implements her “Brahman nature,” Yet, unlike the more classical Advaita of Samkara, she, as the ultimate reality, not only somehow manifests or wields Māyā, she also is Māyā. Thus Māyā, along with all its productions—the world with all its embodied beings” (Brown 1998, 17). Thus, in a Śākta perspective, the physical body is not seen as something disgusting, but rather as a powerful vehicle of transformation.
In Bereavement and Final Saṃskāra (Antyeṣṭi) in Hindu Tradition, Sri Dhira Chaitanya (2005) states, “A human is also endowed with a basis, upon which he can make his choices. For instance, he may make them based on his desires. However, since he is not alone in the world and there are others too endowed with the same capacity, if his choices are based purely on desires they may very well conflict with desires of others, thereby disturbing the harmony between them” (2005, 76). The very notion of preserving universal harmony is known as Dharma, in which resonance amplifies connection with harmony. By accepting a branch and traditional framework, within the scope of a family of faiths of Hinduism and of Dharma traditions, I am committed to studies and practices that cross traditional disciplinary boundaries for the care that is necessary for a climate of inclusion and respect.
Faith and Spiritual Tradition(s)
In “Negotiating Religious Difference: The Strategies of Interfaith Chaplains in Healthcare,” Wendy Cadge and Emily Sigalow (2013) aim for the consideration of how religion intersects with other aspects of social life. “Chaplains in healthcare increasingly work in interfaith roles with patients and families from a range of religious and spiritual backgrounds. Some move with ease between their own religious backgrounds and those of the individuals with whom they work. Others encounter tensions as their status as a person of faith comes into conflict with their status as an interfaith chaplain” (2013, 146). Cadge and Sigalow focus on how secular organizations negotiate religious diversity, while bringing information from the case of one secular academic medical center. “While much has been written about religion, health, and healthcare, little focuses on how healthcare organizations themselves manage religious diversity” (ibid., 147). They explore two main strategies-–neutralizing and code-switching—when working with individuals whose backgrounds are different from one’s own background.
Cadge and Sigalow (2013) describe these strategies: “to neutralize (use a broad language of spirituality that emphasizes commonalities rather than differences) and to code-switch (use the languages, rituals, and practices of the people with whom they work)” (2013, 146). I sense that I have more of a tendency to neutralize, in general, with aims toward universality and unification, so I sense this character trait may be found valuable in vocational practice. “Interactions between chaplains in training and patients that were celebrated at the ceremony were impromptu, improvised, and centered on shared humanity, neutralizing religious differences, and helping patients tell their own stories” (2013, 152). Getting to help people tell their stories is truly what I am aiming for in media production within the activism of forest chaplaincy. When it comes to code-switching, I think this is where I have yielded and am slow to find resolution for all the different variables and preferences; notably, code-switching is where I could use more practice.
The Tantras are concerned with the practitioner’s spiritual journey, which is experienced and conceptualized as a journey of the Kuṇḍalinī, moving through the body. Among Śaiva traditions, common features include the concern with practice or sādhana, involving initiation (dīksā), ritual and yoga. “The soul is eventually liberated from this entanglement by ritual action and by Śiva’s grace” (Flood 1996, 163). Although I sense that I align more with Śakta tradition, studying Śaiva traditions assists me in understanding relational dynamics between groups as well as recognizing sociality that may affect communion because of social location. Developing my own approach to spirituality is based on the premise of Kashmir Shavism, in relation to Shiva Siddanta, in which there is an interrelationship to realize between rural and urban ways of living.
Tantrikas are followers of the Tantras, and it is theorized that they originated among ascetic groups in cremation grounds and not of brahmanical origin, but these ideologies of these groups influenced popular religion and brahmanical circles. The common ritual structure varies depending on deities and mantras, but the structure is based on “the purification of the body through its symbolic destruction; the creation of a divine body/self through mantra; internal worship or visualization; followed by external worship or pūjā” (ibid., 160). Within the Hindu religious life that is often connected with all Dharma traditions, there is an open space for worship that is encouraged for practitioners, while the network is expanding internationally. The primary consideration is finding means to connect with the lineages that have rooted and developed these studies and practices, and getting to meet in places of communion that inspire dialogue and transcendence with nature.
By resonating with Śākta theology, I have allowed myself to embody the value system that is intrinsic to my own nature, while feeling an openness to multiple spiritual and wisdom traditions. In the Mother of My Heart, Daughter of My Dreams, Rachel Fell McDermott (2001) explores “three kinds of bhakti: Vaisnava bhakti, a dualistic devotion based on external image worship; nirguna bhakti, focused on a formless conception of the divine; and Tantric or Śākta bhakti, where the Goddess is not understood as a real presence ‘out there’ but as a symbol of the world or of the self, introjected into the spiritual physiognomy of the body through kundalinī yoga” (2001, 71). McDermott reveals the devotees as Tantrikas, who realize the union of Śiva and Śakti in the sahasrāra or crown chakra, as aligned at the top of the chakra system. Developing my own approach to spiritual care will be an ongoing practice and means of finding alignment, which I realize requires jnana (knowledge), bhakti (devotion), and karma yoga.
Place of Hope
In “The Spiritual Assessment,” Aaron Saguil and Karen Phelps (2012) offer a clear way to determine spiritual needs and ways to cultivate dialogue. The purpose of this article is to emphasize the value oddfiuf a spiritual assessment, which can “allow physicians to support patients by stressing empathetic listening, documenting spiritual preferences for future visits, incorporating the precepts of patients’ faith traditions into treatment plans, and encouraging patients to use the resources of their spiritual traditions and communities for overall wellness” (2012, 546). Saguil and Phelps introduce three different ways of considering and structuring questions in relation to specific goals. The FICA Spiritual History Tool focuses on faith and belief, importance, community, and address in care. The HOPE Questions for Spiritual Assessment focuses on sources of hope, organized religion, personal spirituality and practices, and effects on medical care and end-of-life issues. The Open Invite Mnemonic focuses on intentionally opening the door to conversation and inviting the patient to discuss spiritual needs.
Saguil and Phelps (2012) state that this documentation helps meet hospital regulatory requirements as well as assisting physicians in connection with patients. I find that a chaplain could most value from The Open Invite Mnemonic assessment since this rightfully initiates with faith when aiming to open the door to conversation. Although the HOPE Questions for Spiritual Assessment intends to focus on hope, which could prove beneficial to both chaplains and physicians, I find that the Open Invite Mnemonic assessment brings me hope. I find that this assessment not only directly and intentionally holds space for faith, but it also gears toward more action by aiming to discuss spiritual needs. To be honest, the focus on faith and direction toward spiritual needs is what is most essential for chaplaincy, though we could otherwise get easily overshadowed or undermined in secular environments, such as hospitals. I am grateful to consider the open-invite approach as a means to get to necessity as well as cultivate dialogue.
The place of hope in my approach to spiritual care relates to dialogue and the process of dialogue, and a capacity to be in tune with dialogue as well as gauge the course of dialogue. In “Methodological Considerations for Interreligious Theological Engagement: New Directions in Comparative-Dialogical Theology,” Rita Sherma (2022) engages with theological epistemologies at a deeper dimension of experience. In this case, she pursues “comparative studies that are not merely multireligious, or even just dialogical, but critical, creative-constructive, immersive and intersubjective” (2022, 20). Sherma developed the term “Hermeneutics of Intersubjectivity” to describe an approach, which aims to assume the “Other” as not merely an object of study, but rather as a subject from which we can learn. The approach “starts with the assumption that understanding and the bestowal of human dignity are both aided by, and dependent on, the perception of the Other” (2022, 21). Therefore, the goal is to not view another as an object of investigation, but instead a subject to be in conversation with that is immersed in a dialogue.
Sherma (2022) suggests that an approach that embodies intersubjective construction consists of two factors, to reflect on an encounter in a way that seeks comprehensive understanding of their lexical context and strives to articulate how the encounter may inform or transform one’s own constructive thought. This is aimed to broaden our vision to reconsider present perspectives, opening more to the possibility of mutual transformation or a “fusion of horizons.” “The hermeneutics of intersubjectivity does not imply uncritical acceptance of the Other or his/her/their lifeworld. It does, however, give primacy to integrating our deepest understanding of the self-perception of the Other into our conceptual portrait of the Other” (2022, 21). While there is both critical and constructive engagement, there is an overall premise of recognizing that one cannot change what one does not fully understand, holding space for gradual change that can occur when we listen for faith and glisten to spiritual needs.
Pain and Struggle
In “Does God Really Care? A Hindu Response to the Problem of Suffering,” Gopal K. Gupta (2009) delivers a message as to how the Bhagavata Purana’s narrative deals extensively with the problem of suffering. “Permeated as it is with key Vedantic terms and concepts, the Bhagavata is largely grounded in Vedanta discourse and is considered by certain North Indian Bhakti traditions to be a commentary on the Vedanta-sūtra” (2009, 106). Gupta suggests that the Vedanta-sūtra resolves the problem of evil in three sutras, determining that the world is the result of Brahman (God). “In their commentaries on this sūtra, Śaṇkara, Ramanuja, and Baladeva posit that although ultimately Brahman is the operative cause of the suffering and enjoyment of living beings, God always takes into account the karma of the soul (jīva)” (2009, 107). Gupta states that the explorations in his essay offer a Hindu response to the problem of suffering, thereby providing unique insights that a chaplain may find useful.
The karma theory is often put to question, for which commentators of the Vedanta-sūtra respond. “Commentators on this sūtra justify the beginninglessness of creation and action by employing the seed-sprout paradox. They argue that action and creation have the relationship of a seed and a tree: a seed produces a tree and the tree produces another seed, and so on. In his commentary, Baladeva posits four categories that eternally coexist with Brahman: the jīvas (individual souls), prakṛti (substance), kāla (time), and karma (action)” (Gupta 2009, 107). The Vedanta-sūtra is known to posit karma as the solution to the problem of suffering, as living beings suffer and enjoy as the result of their free actions. “Baladeva argues that free action must exist. Freedom is necessary not just for love, but for life, for something that does not have freedom is not a person, but a mere puppet. The theory of karma allows for this freedom because it is based on the assumption that every person has a moral responsibility for his or her actions, and hence the freedom of moral choice” (2009, 108), which is all a part of Brahman’s perfection.
Brahman is often described as the ultimate truth that underlies all existence, connecting all forms of life and consciousness. “The Devī Gītā, in accord with the Advaitic theism just discussed, sees the Goddess as the embodiment of Brahman, “one alone, without a second,” and associates her creative power of projecting the universe with Māyā” (Brown 1998, 17). Actualizing the whole of the self occurs upon realizing the never-ending divinity, in which one could say the soul is always transforming. “The more mystical religious concern of liberation is seen in another medieval definition of utsava as “that which takes away samsara.” In the case of the Goddess, this latter goal may be [a]mended to “that which takes away the pain and suffering of samsara (but necessarily samsara itself),” for liberation is not something wholly apart from this world” (1998, 258). The sense of longing may eventually be met with the sense of belonging; thus, the yearn for the divine is not to be bypassed as it may be part of the journey to realization, while joy and pleasure are a foretaste or participation in divine bliss.
Compassion
Compassion is necessary because empathy does not have a direction. Compassion stems from the creation and cultivation of one’s own practice. The concept of compassion can be understood as Mother, and the unconditional love found in motherhood, which the Great Goddess is. The Devī Gītā states, “1.17. As a mother feels no lack of compassion whether indulging or chastening her child, just so the World-Mother feels when overseeing our virtues and vices. 1.18. A son transgresses the limits of proper conduct at every step: who in the world forgives him except his mother? 1.19. Therefore go for refuge to the supreme Mother without delay, with sincere hearts. She will accomplish what you want” (Brown 1998, 52-53). The Devī Gītā is my go to in terms of Śākta tradition, which has allowed me to ground my ontology. Furthermore, other Sanskrit sacred texts have been helpful offering clarity to Yoga philosophy (in terms of the Sharīra Traya) such as the Yoga Sutras of Patañjali, and further connection has been made with the Veda while connecting with the Upanishads.
Another way to remember is to hold awareness of another and their own right to choose actions. “A person can, by his choice, live in a manner that goes against the principles of Dharma. When this happens, the unseen results of his actions accrue to him in the form of pāpa that are unfavorable consequences to be experienced in his current life or later. Thus, we see how Dharma is applicable to a human being, since he is endowed with free will and the capacity to choose the course of his actions” (Chaitanya 2005, 77). From the fructification of karma, there will be consequences to actions that include experiences of both joy and sorrow, while to know that as a truth of life will alleviate suffering. To be able to stand in the knowing of impermanence brings freedom, and this seems to allow one to not get lost in empathy and thus find compassion. Lastly, to remember that faith is intrinsic, so each has their own force of nature moving through them to hold and adhere.
Compassion is never a cause of fatigue. Compassion is the ultimate reality, and the process of compassion is the ultimate recharge. When one is requiring rest and relaxation, compassion is the only way. Compassion does require patience, so alleviating fatigue in relation to the soul requires this virtue. The aims and values for compassion reveal a natural synchronization, upon the ongoing relationship between value, aim, and virtue. Soulcare has allowed me to pay attention to my capacity, whereby to take note in the field, of velocity, when in the vocational practice of accompanying people in moments of disorientation. There is a gradual process to unfold, to sense speed, acceleration, and motion. Somewhere within the rippling out of consciousness, one finds direct perception, and may hold the social awareness, in which one experiences resilience, and can remember how to hold space for recovering wellness, by learning and ritualizing. Spiritual practitioners are aware that the social body is what allows for this process of compassion through patience and compassionate interaction consisting of surrendering.
The arch of an ethnography of forest chaplaincy is to consider the inclusion in the circle of care, while accounting for velocity. In the foreground of forest chaplaincy is personal spirituality; together they are meant to hold space for the subtle body and ritual studies. The epiphany discovered after completing chaplaincy coursework has revealed to me the possibility of space holding within the network of chaplaincy. The activism of forest chaplaincy has been anchored in the notion that women have been restricted from forestry, and that I currently do not sense that I am capable of working in psychiatric work at this time. I imagine the possibility of focusing on the ethnography of forest chaplaincy, and while being in a network that is devoted to health and connection, I will grow through the years to be a chaplain that can contribute to provide spiritual guidance in psychiatric care practice.
Contemplative Fieldwork
The foundational premise of this research is to consider the social body, upon the process of subtilization and the cognitive world. From Nancy Scheper-Hughes and Margaret M. Lock’s (1987) “The Mindful Body: A Prolegomenon to Future Work in Medical Anthropology,” the conception of the “three bodies” (body politic, social body, and the individual body-self) has allowed me to consider the process of socialization and ritualization that is within the theoretical lens brought by Peter L. Berger (1967) and Catherine Bell (1992). Berger illuminates the process of socialization, which lends Bell's illumination into the process of ritualization. In The Sacred Canopy, Peter L. Berger (1967) offers an argument that is meant to have a modest aim, as an exercise in sociological theorizing of religion. In Ritual Theory, Ritual Practice, Catherine Bell (1992) offers a framework that reveals the production of a ritualized social agent.
Scheper-Hughes and Lock (1987) describe the social body as a natural symbol for thinking about relationships among nature, society, and culture. “Symbolic and structuralist anthropologists have demonstrated the extent to which humans find the body ‘good to think with.’ The human organism and the natural products of blood, milk, tears, semen, and excreta may be used as a cognitive map” (1987, 19). Scheper-Hughes and Lock offer a prolegomenon for anthropology that toggles well with a sociological lens of religion and ritual studies. This prolegomenon also offers an ethno-epistemology “to court a Cartesian anxiety—the fear that in the absence of a sure, objective foundation for knowledge we would fall into the void, into the chaos of absolute relativism and subjectivity” (1987, 30). The significance of acknowledging the objective world, the cognitive world, and the subjective world, allocates space for enlightenment.
Berger (1967) explores how the sociality of the human is necessary, though the social world forms a duplication of consciousness, in terms of its socialized and non-socialized components. Berger does not propose a sociological definition of religion, while instead he “operates with what he considers the conventional conception of the phenomenon common to the history of religion” (1967, vi). Illumination brought by Berger is that consciousness proceeds socialization and that socialization is always partial. When consciousness internalizes the social world, it produces “dialectical tensions between identity as socially assigned and identity as subjectively appropriated. The consequence is a setting aside, congealing or estranging, one part of consciousness as against the rest. Put differently, internalization entails self-objectivation” (1967, 83). The experience of socialization is gradually sorted out upon a dialectical character, with two elements producing each other.
Society is seen as a dialectic phenomenon, in which society is a human product yet continuously acts back upon its producer. “That is, a part of the self becomes objectivated, not just to others but to itself, as a set of representations of the social world-a "social self," which is and remains in a state of uneasy accommodation with the non-social self-consciousness upon which it has been imposed” (1967, 83-4). Dharma traditions can appreciate sociology for drawing attention to feedback loops enforced upon sociality, to realize more about saṃsāra in relation to process of subtilization through the social body. “It is important to emphasize that this estrangement is given in the sociality of man, in other words, that it is anthropologically necessary” (1967, 84). To have more awareness about embodiment does seem to alleviate the suffering of the never-ending and ongoing turmoil of the human condition.
Bell (1992) does seem to illuminate where Berger may have obscured our connection to the social body, appealing to this basic feature of ritual in describing its role in socialization. “Socialization cannot be anything less than the acquisition of schemes that can potentially restructure and renounce both self and society” (Bell 1992, 216). The domains of ritual not only provide a fuller theoretical basis for comprehending complex social transactions in ritualized activities as well as providing clarity into transformation of the self and society.
Ritual is represented as a means to understand the natural process of transformation, and potentially the means to face the human condition, not necessarily as a means in socialization. “As a "discursive practice," ritual activity concerns knowledge (ritual mastery) that is "reproduced through practices made possible by the framing assumptions of that knowledge"” (Bell 1992, 216). The intention is to consider the effect of the ritual on the social body, as well as to consider how spiritual masters are influenced in ritualization and by their accomplishments, rather than to suggest that a ritual is a part of society or that ritual activity resolves socialization. “The practical knowledge that emerges by and through ritualization, what I have referred to as ritual mastery or the sense of ritual, which structures and fixes meanings in historical forms, is an "accomplishment of power"'” (ibid.). The private contemplative domain of ritual may be somewhat obscured by ritual studies, unless there is deeper self-reflexivity and potential auto-ethnography in the study, while also reflecting on ritual and power.
A ritual studies lens brought by Bell (1992) is being applied within how modern science is learning how to study and integrate Dharma traditions, which proves to be illuminating. In “Introduction to “Cognitive Science and the Study of Yoga and Tantra”,” Glen Alexander Hayes and Sthaneshwar Timalsina (2017) explore essays about Tantric language, as a means to lay a found for the need of a disciplinary dialogue between cognitive science and contemplative practices. “There are fundamental philosophical differences between Mahayana Buddhist and Saiva Sakta Tantric practices. Nevertheless, numerous deities, mandalas, mantras, and rituals that are commonly shared demonstrate a cultural fluidity in which Tantric Saivism and Vajrayana Buddhism evolved” (Hayes and Timalsina 2017, 6). With this in mind, Hayes and Timalsina focus on an essay by Richard K. Payne, in which Payne engages Buddhist Tantric ritual for an understanding of “ritual syntax.”
With their history in pan-Indian culture, rituals are central to temple religion, and can be publicly performed. “Payne makes a distinction between the ritual domain and syntax by observing that rituals are often modeled on ordinary activities, producing some form of motivation” (Hayes and Timalsina 2017, 6). In this analysis, one may attune to cognition as operating at the intersection of body, mind, and the environment, rather than as exclusively to the objective world, mental objects and operations. “By borrowing Catherine Bell’s conception of ritualization, Payne concludes in his paper that the dichotomy between the mind and the body can be avoided, and he uses ritual homa as an example of the intersection between the mental and physical” (ibid). Ritual studies thus have been enlightening on how one could view the world other than through a Cartesian dualism, further pointing to the social body, or the subtle body.
Scheper-Hughes and Lock suggest that we are “[t]o do otherwise, using a radically different metaphysics, would imply the "unmaking"of our own assumptive world and its culture-bound definitions of reality” (1987, 30). I have come to find deep reverence and resonance with this practice and connection, which allows for sacrality of daily life and deeper awareness of transformation within embodiment. All of my vulnerabilities tend to be met well in the Tantric worldview, with deep purpose and an offering of contemplative practices, where I am an activist for forest chaplaincy. To lean in with an ethnography of forest chaplaincy implies a radical act for social change, while to establish and cultivate an open space for a forest chapel feels to be up to the local environment and potential of the social body.
In terms of the gifts and beliefs that I bring to the work of spiritual care and network of chaplaincy, I bring an extraverted intuition and am keen to feminine theology. I sense that this extraverted intuition brings an openness to multiple spiritual and wisdom traditions, while having a sense of oneness. With the Devī Gītā, C. Mackenzie Brown (1998) examines the message of universal energy (Śākti), as the Great Goddess (Maha Devī). The “relationship of the Devī’s aspect as the supreme feminine principle of the universe to the fundamental masculine principle, a relation usually expressed in terms of the interaction between Śakta and Śiva” (1998, 22). The two-fold dynamic relationship is viewed here to draw attention to both creation and liberation.
“The relationship may be one of dependency or codependency (in the strict meaning of the term), or it may be one of radical independence, or something in between. Tantra in general presupposes a bipolar view of ultimate reality, of the One unfolding into Two as the God and Goddess, associated with various other complementary opposites such as spirit and matter, consciousness and energy, passivity and activity. Both creation and liberation are seen as the result of the union or reunion of the two co-ultimate principles/deities” (ibid).
Whereby, Brown highlights the purification and transformation of the body are very important as a means for the old body to dissolve and for the body to become infused with divine breath.
My personal vulnerabilities are womanhood and being a woman, as well as residing in the forest and really only holding the capacity to live in rural areas. The function of wilderness contact is acknowledged in Rita Sherma’s (2026) “On Ecopsychology and Biophilia.” “The mountains and forests were also claimed by the hermit’s abode, the guru’s ashram, and the many wandering ascetics who hoped to find realization in a darkened cave, or under a green canopy. Hindu sages (ṛṣis) left towns and villages and sought realization and wisdom in nature propelled by the intuition that the natural world provided the most suitable environment for communion with the Divine” (2026, 15). For this project, that is to adhere to forest living and feminine theology, I am considering more into sociology and ritual studies, as a means to recognize the process of subitization, which I theorize is experienced in the individual and the Divine.
Overall, the ultimate objective is to look to sustain ethnographic fieldwork and ways to continually develop and use questions as the transforming force for a forest chapel. This circulation is to be maintained by ritualization, as well as considering my place within the social world that appears as the cognitive world. Thus, I am to participate in ritual activities, while I am to maintain an understanding of my part in the world. While in the position of working with grief and bereavement, advocating for retreat and restoration, it may not be the place for direct and formal ethnography. It does seem that ritual studies can illuminate the temple rituals that are publicly performed, while I suspect I will be slow to conduct formal ethnographic interviews in the space as a chaplain. Although chaplaincy occupies the place of estrangement, that is a curious space within society, in which an ethnographer would naturally wish to document ritual practice, this process will require tremendous patience, care and consideration into shared values.
Contemplating the Three Bodies
With consideration of the anthropological conception of the three bodies, which I suspect has ontological roots in ancient philosophy found in Dharma traditions, I quest into the area of the social body (and cognitive world) that is a micro-reflection of the Divine, while the individual-body self (and subjective world) is in a feedback with the body politic (and objective world). The contemporary purpose of my ethnography, within forest chaplaincy as an activism, is to hold space for Dharma traditions within media production as well as consider the ritual studies of Tantras that enlighten us of the process of subitization.
The reason for understanding a social body is to consider psychological values that orient a circle, to be healthy and sustainable, as a microcosm of the microcosm, which sustains and brings health to the shared cognitive world. Self-reflexivity has been a means to document practice and enact ritual in relation to my own personal set of yoga studies, within a self-study of how a woman can attain forestry within the outer edges of society or within many layers of micro-societies. Berger would like to consider the outer edges of society as a place of estrangement, while Bell might recognize how within many layers of micro-societies a woman may embody an entrancement. The contemporary purpose of my ethnography, within forest chaplaincy as an activism, is to hold space for Dharma traditions within media production as well as consider the ritual studies of Tantras that enlighten us of the process of subitization.
These roots present themselves in the Tantras, while building from Vedanta Sūtra knowledge in Hindu philosophy, Buddhabhūmi-sūtra and Madhyāntavibhāgakārikā of Mahāyāna Buddhism, and the Jaina Doctrine Of Karma—vis-à-vis the anatomy and process of the body system. Vedanta Sūtra brings forth three bodies in Yoga philosophy, sthula-sukṣma-karaṇa-sarira, as casual, subtle, and gross body. Laṅkāvatāra Sūtra offers an early conception for a three body theory, while Mahāyāna-sūtrālamkāra signified how the threefold function or "fluctuations" (vṛṭṭi) within the singular Dharma realm of the Buddhas, encapsulated by Dharmakaya (Truth Body), Sambhogakaya (Enjoyment Body), and Nirmāṇakāya (Emanation Body). Jainism also has a concept of the three bodies that is a fundamental aspect of the philosophy, known as the audarik body, tejas body, and karma body.
The shared assumption between these traditions is that the body system is a singular source of function, which is the individuate, while the recognition of this individuation is actualized through the realization of the aggregate. The individual-body self sees itself in the body politic, finding obstacles and experiencing challenges, where the sthula sarira (causal body) finds and experiences the karaṇa-sarira (gross body). A healthy social body or sukṣma-sarira (subtle body) is required for the individuate to realize the aggregate. Within Hindu philosophy, when the physical body which is of the karaṇa-sarira perishes, the energy carried by the sthula sarira (causal body) also falls away with the objective world, while the karaṇa-sarira moves on its own and yet remains as a micro-reflection of the Divine.
In Jainism, the audarik body is the physical body, which is what perishes. The tejas body is responsible for managing the body systems, su pported by prana energy, while the karma body is the invisible body that contains karma and is always in union with the soul, which is maintained until the soul attains emancipation. These bodies are integral to the understanding of the soul's journey and the cycle of rebirth, the union of the karma body and tejas body is referred to as the subtle body; the liberation of the soul involves getting freedom from the imprisonment by these two bodies. Thus, one could say that the body politic is the work of the audarik body like the gross body of Vedanta philosophy, while the liberating process of subtilization occurs once the social body and the individual-body self are in union.
In Mahāyāna buddhology, or the theology of Buddhahood, the concept of the three bodies posits that a Buddha has three types of kayas or "bodies", aspects, or ways of being, each representing a different facet or embodiment of Buddhahood. The three are the Dharmakāya (Dharma body, the ultimate reality, the Buddha nature of all things), the Sambhogakāya (the body of self-enjoyment, a blissful divine body with infinite forms and powers) and the Nirmāṇakāya (manifestation body, the body which appears in the everyday world and presents the semblance of a human body). These bodies are not separate realities, while they are functions that circulate within a single state of Buddhahood.
When considering holding space for the process of subtilization, the Dharma body may be similar or the same (for a liberated jiva) as the karma body in Jaina and as the subtle body in Vedanta philosophy, while the Sambhogakāya may be as the tejas body or casual body. Thus, to consider holding space for the many Dharma traditions, it is interesting to take note where areas of socialization and ritualization may be shared by the many traditions and how this sharing can be the source of communion within a forest chapel. My original in-take on forestry was from a Western standpoint that looked to consider how socialization is improved or advanced through right action, which was the way to hold space for estrangement and alienation. While now that I have been living more in the forest, I look to not fill a void in which I am the messiah to do so, but rather, knowing where I find joy and where I wish to take part in ministerial work.
Within the Krama lineage, instead of a linear view of life and processes, there seems to be an emphasis on the oscillation of perception and the transmission of consciousness. “Niṣkriyananda was one of the early Krama siddhas and the preceptor of the Higher Krama of the Oral Instruction (Sanderson, 2007a, p. 333), who transmitted the teachings to his spiritual son, and the siddha whose appearance was that of a tribal (śabara), by the name Vidyananda or Vidyasabara” (Wenta 2021, 727). At the end of the phenomenology of a twelvefold process of perception, Mahākāla Kālī digests time, along with the totality of the universe. “She is described through the use of apophatic language as “neither the object of perception, nor the object of speech, free of attributes” (2021, 737). At it all, Mahābhairavacaṇḍograghora Kālī dances in the universal cremation ground, as the effulgent light of supreme consciousness responsible for manifesting subjective, objective and cognitive worlds.
Conclusion
Further questions and outlooks, in relation to upholding Dharma and holding space for Dharma traditions, pertains to proper ways of interfaith dialogue, as well as encouraging particular faith leaders and ritual masters of specific traditions, to hold space in the forest chapel. As I connect more with networks around me, am I to focus more on a specific lineage alongside inviting individuals from many faiths to participate in ritual activities, and sacred studies? Might it be better to focus more on a specific area or would it be better to consider where the many traditions connect and relate? How might certain times of the year, or different times of my cycle change my outlook of the social, and how I connect with different members of faith? Is it best for a chaplain to follow ritualization of specific lineage or is it wise to consider creating new rituals?
Conclusions
CONCLUSIONS
The main premise of this culmination of projects is within sound studies while involving forest chaplaincy and interfaith yoga. Pursuing a MA in Sacred Texts and Interpretation within Yoga Studies and Hindu Studies has led me to cognize through subdivisions. The nature of this capstone is an experiential learning journey and to set into motion frameworks to enable an ecologically based ministry to circulate with and through a production company. In this case, designing, planning, and implementing social business models involves non-profit management techniques and on-going research tools for decolonization. Adaptive strategic planning through Sanskrit scriptures and Vedic teachings, with instructions and correctives explored in Śākta theology, will design a theater and music ministry. These frameworks, tools and techniques are implemented to advance congregational and/or organizational mission and vision that are meant to continue to circulate via spiritual care or self-exploration.
Seeking a way to be in the human world initially led me to realize the archetype of a chaplain as a personal predestination, later finding that my mentors in the Interreligious Chaplaincy Program allocated space for me to claim “chaplain” as a professional vocation title. Through my courses within the Interreligious Chaplaincy Program, it has further come to my attention the value and benefit of a chaplain being a part of a locale through holding cathartic spaces to encourage bereavement. Within the field of chaplaincy, there is a rising acknowledgement of nature life settings and environmental clauses amongst its widespread network of practicing caregivers. While finding correspondence between chaplaincy and yoga, the scope of my MA Capstone is dialogue, to have a motive point to be in conversation with the current issues and concerns of today, upon amending the whole.
The purpose of a cross-methodology is to cover multiple bases of research within faith communities and human thought for the sake of decolonization. Applying acoustemology and a Śākta perspective is meant to create an eco-praxis that roots into and continually responds to the Earth. There has seemed to be cross-wiring, fragmentation and confusion within the collective consciousness, while the implementation of these methodologies is meant to offer clarity. While intentionally seeking out original blindspots and lack of awareness within the academy of multiple fields, the goal is to follow ecological simplicity upon an interdisciplinary study. I find that the process of operating an education and justice ministry within the non-profit sector may be framed through the four aims of life or puruṣārthas. These aims of life are often acknowledged via four hands when worshipping the deity in Sanātana Dharma. In further words, these studies will be contemplated and practiced for the sake of fulfilling a ministry, respectfully.
Honoring One’s Natural Course of Bereavement and Divine Feminine
This research is meant to act toward and document the process of a worldwide transmission of the Goddess, devotion and reclaiming of one’s own universal feminine, and an allowing for the natural course of bereavement—while writing from nature life settings. I aim to research and hold space for anthropological decolonial frameworks, primarily “border thinking” and “speaking nearby.” The religious contribution of this thesis is brought from dialogue that unravels from a focus on Hinduism, influencing Śākta theology and an inclusion of Bhakti Yoga. This unraveling leads to a dedication to the Hindu Kali tradition, with Maha Kalī as the dedication, primary contribution and transmission upon an anchoring and amplifying of forest chaplaincy and interfaith yoga.
Upon analyzing death and dying in Hindu tradition(s) and within a Śākta perspective, this thesis implements and practices iconography, ethnography, audiography and cinematography while structuring and designing, commencing and circulating an eco-ministry. The result of this procedure leads to greater awareness for scholarship as a whole in theology, anthropology, ecology, and musicology, all within the field of chaplaincy. Anthropology within a contemporary focus emphasizes the necessity of studying the boundaries of discipline, compassion, and transformation; as a theologian, both as a researcher and vocational member within a natural setting and local ecosystem, decolonization has become an intrinsic focal point to address and consider acting appropriately as a practitioner and scholar.
The focus on traditional and community boundaries is common research amongst modern anthropologists particularly within post-colonialism. This has always been a focus for early anthropologists to learn how to settle in the environments of field sites. More recent studies suggest the importance of studying boundaries as means to understand power relations and offer a direction toward decolonization. Further, critical anthropologists often study community boundaries to enact change and take part in activism. Overall, it is essential to study discourse on boundaries to respect heritage and culture as an anthropologist, to practice art and apply science to decolonization, while some anthropological research may lead to the disruption of unbalanced community boundaries and otherwise strengthen balanced community boundaries.
Synthesizing and Responding to the Earth With and Through Ministry
The choice to facilitate space for a forest chapel, with a media lab, is based on my own process of subtilization and aim to hold space for liberation through social change and personal growth. To consider how union with the self and the social is the only way to experience ultimate reality and self-enjoyment is where an activism of forest chaplaincy could hold space for Dharma traditions. Since chaplaincy is now about meaning-making in the world, what psychological values can help us sustain a healthy cognitive world and social body? If the radical reformation brought by the Buddha is the awakening of the meaning crisis, where is the making in the following moment? These questions are meant to facilitate space for the studies and arts that make up the contemplation that will be necessary for a forest chapel to sustain healthily.
This ministerial organization will require spiritual counsel; however, it is important to note that the function of my eco-ministry is meant to be connected to the root of a centralized matriarchy, that signifies, trust yourself, and each their own ministry. In order to establish this organization as a 501(c)(3), a treasury and a secretary are required to create a counsel, so my goal is to find council members that already have their own 501(c)(3) and are looking to be a part of this counsel as well, with similar aims and objectives. The forest chapel is meant to hold space for individuals to consider their own internal values and ways to work in a group with those who have shared values, such as improv groups. The idea is to know more about your own aims after coming out of the place of communion, through your own natural art and sharing.
The ministerial organization will be based around media production, as a media production company that is funded by ministerial support, through donation and grant funding. The media lab is meant to be a medium for social change and personal growth in music and theatre arts. Holding space for the development of a film crew is also an important part of this ministry, because a primary sentiment is the art and study of filmmaking, through the which the local crew builds skills in filmmaking and can work together to pursue narrative film projects, montages as music videos, commercial videos, and ethnographic documentary films. Overall, my aim is to hold space for study and practice, ritual and art, while encouraging self-reflexivity upon contemplation, with the field of contemplative studies and the process of contemplative arts.
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