Podcasts about Mahadeva

34_O arco de Mahadeva by Gloria Arieira

Rayim Ferrera es Maestro de Meditación y Yoga con más de 25 años de experiencia en filosofía Vedanta y Shivaísmo. Fundador de la escuela MAHADEVA, enseña meditación, canto devocional y música de conciencia. Esta conversación comienza con Rayim contándonos sobre su iniciación en el camino espiritual y como éste comenzó al ver a su padre llorar con la música, revelándole desde niño la conexión profunda que se puede tener con el sonido y la vibración. Hablamos del ego espiritual y de la figura del maestro, cuestionando la necesidad de soltar definiciones y permitir que el aprendizaje fluya. Exploramos la relación entre el dinero y la espiritualidad, y cómo integrarla en una vida consciente, así como el papel de las redes sociales como potencial canal de crecimiento interior. Rayim comparte su estudio de la Bhagavad Gita, profundizando en las enseñanzas de la India sobre el bien y el mal, y en la figura de Lahkshmi, la diosa de la abundancia, como una invitación a sentir la verdadera satisfacción. Finalmente, discutimos la importancia de los mantras y el silencio en el yoga, y cómo la voz, esculpida por el espíritu, se convierte en un canal para conectar con lo sagrado.

¨Con Luz propia¨ , programa de radio conducido por Claudia de Brasi y Laura Luisello. Participación Programas que abordan diferentes inquietudes del espíritu. 9/03/2021 0:00:20 Si el destino no está escrito, ¿depende de nuestros actos? ¿Cuál es el acompañamiento del Ángel de la Guarda? 0:06:30 7 EGOS Cabezas de legión 0:18:53 Los tres días de oscuridad. 0:25:17 ¿Jesús tuvo ángel de la Guarda? Moisés. Señores de su propia Luz 0:32:45 ¿Cómo sé quién es mi ángel de la guarda? Iniciaciones y cómo se devela el ángel de la Guarda. 0:50:18 Arcangel Miguel. Mahadeva. 0:51:08 ¿Conoces el nombre de tu Ángel de la Guarda? El Ángel que custodia a todos los ángeles custodios. 0:52:20 Los ángeles de la Guarda de cada persona, ¿se comunican entre ellos? Almas gemelas. 0:57:50 Cercanías de nuestro ángel en momentos de tristeza. -Suscríbete a nuestro canal: https://www.youtube.com/channel/UC8XT... -Síguenos en nuestras Redes Sociales: Facebook: https://www.facebook.com/impulsodeuna... Instagram: https://www.instagram.com/impulsodeun... -Visita nuestro sitio web: http://www.impulsodeunanuevavida.org/ #DanielFerminades #Impulsodeunanuevavida #Filantropo #Conciencia #Paciencia #Compasión #Espíritu #VerdadesDeveladasDesdeLaConciencia

Set the context for a joyful, exuberant day with a short, powerful message from Sadhguru. Explore a range of subjects with Sadhguru, discover how every aspect of life can be a stepping stone, and learn to make the most of the potential that a human being embodies.  Conscious Planet: https://www.consciousplanet.org Sadhguru App (Download): https://onelink.to/sadhguru__app Official Sadhguru Website: https://isha.sadhguru.org Sadhguru Exclusive: https://isha.sadhguru.org/in/en/sadhguru-exclusive Inner Engineering Link: isha.co/ieo-podcast Yogi, mystic and visionary, Sadhguru is a spiritual master with a difference. An arresting blend of profundity and pragmatism, his life and work serves as a reminder that yoga is a contemporary science, vitally relevant to our times.

Set the context for a joyful, exuberant day with a short, powerful message from Sadhguru. Explore a range of subjects with Sadhguru, discover how every aspect of life can be a stepping stone, and learn to make the most of the potential that a human being embodies.  Conscious Planet: https://www.consciousplanet.org Sadhguru App (Download): https://onelink.to/sadhguru__app Official Sadhguru Website: https://isha.sadhguru.org Sadhguru Exclusive: https://isha.sadhguru.org/in/en/sadhguru-exclusive Inner Engineering Link: isha.co/ieo-podcast Yogi, mystic and visionary, Sadhguru is a spiritual master with a difference. An arresting blend of profundity and pragmatism, his life and work serves as a reminder that yoga is a contemporary science, vitally relevant to our times.

Recorded 26th July 2023 visit: http://beautyofreallove.com/ visit: https://sadhumaharaja.net/ audio: https://tinyurl.com/BeautyOfRealLove #raganugabhakti #bhaktiyoga #shiva

djravish.com

Dorothee singt den Kirtan Shiva Shambu Mahadev, der von Shiva singt. Shiva bedeutet “der Liebende”, “der Gütige”. Shambho beschreibt denjenigen, der Liebe und Güte bringt. Mahadeva ist der große Gott. Mantras sind kraftvolle Klangenergien in Sanskrit, einer Sprache für Gebete und Gesänge. Die richtige Anwendung dieser Klangenergien verhilft zu Gesundheit, innerer Harmonie, geistiger Klarheit, kraftvoller Lebensenergie, Entfaltung von Liebe und Freude. Das höchste Ziel des Mantra Yoga ist, wie immer im Yoga, die Verwirklichung der wahren Natur, das Einssein mit dem unendlichen Leben selbst. Mantra Yoga gilt als einer der kraftvollsten, einfachsten, sichersten und schnellsten Wege zu dieser Erkenntnis. Dies Der Beitrag Shiva Shambu Mahadev gesungen von Dorothee erschien zuerst auf Yoga Vidya Blog - Yoga, Meditation und Ayurveda.

Dorothee singt den Kirtan Shiva Shambu Mahadev, der von Shiva singt. Shiva bedeutet “der Liebende”, “der Gütige”. Shambho beschreibt denjenigen, der Liebe und Güte bringt. Mahadeva ist der große Gott. Mantras sind kraftvolle Klangenergien in Sanskrit, einer Sprache für Gebete und Gesänge. Die richtige Anwendung dieser Klangenergien verhilft zu Gesundheit, innerer Harmonie, geistiger Klarheit, kraftvoller Lebensenergie, Entfaltung von Liebe und Freude. Das höchste Ziel des Mantra Yoga ist, wie immer im Yoga, die Verwirklichung der wahren Natur, das Einssein mit dem unendlichen Leben selbst. Mantra Yoga gilt als einer der kraftvollsten, einfachsten, sichersten und schnellsten Wege zu dieser Erkenntnis. Dies Der Beitrag Shiva Shambu Mahadev gesungen von Dorothee erschien zuerst auf Yoga Vidya Blog - Yoga, Meditation und Ayurveda.

Om Namah Shivaya! Shiva repräsentiert die Kraft der Transformation und ist reines Bewusstsein. Shiva ist das, was wir zu werden fähig sind. Shiva wird oft Mahadeva genannt, der größte Gott, und auch Shambo, der Sitz der Freude. Mantras sind kraftvolle Klangenergien in Sanskrit, einer Sprache für Gebete und Gesänge. Die richtige Anwendung dieser Klangenergien verhilft zu Gesundheit, innerer Harmonie, geistiger Klarheit, kraftvoller Lebensenergie, Entfaltung von Liebe und Freude. Das höchste Ziel des Mantra Yoga ist, wie immer im Yoga, die Verwirklichung der wahren Natur, das Einssein mit dem unendlichen Leben selbst. Mantra Yoga gilt als einer der kraftvollsten, einfachsten, sichersten Der Beitrag Shiva Shambo mit Viveka erschien zuerst auf Yoga Vidya Blog - Yoga, Meditation und Ayurveda.

Om Namah Shivaya! Shiva repräsentiert die Kraft der Transformation und ist reines Bewusstsein. Shiva ist das, was wir zu werden fähig sind. Shiva wird oft Mahadeva genannt, der größte Gott, und auch Shambo, der Sitz der Freude. Mantras sind kraftvolle Klangenergien in Sanskrit, einer Sprache für Gebete und Gesänge. Die richtige Anwendung dieser Klangenergien verhilft zu Gesundheit, innerer Harmonie, geistiger Klarheit, kraftvoller Lebensenergie, Entfaltung von Liebe und Freude. Das höchste Ziel des Mantra Yoga ist, wie immer im Yoga, die Verwirklichung der wahren Natur, das Einssein mit dem unendlichen Leben selbst. Mantra Yoga gilt als einer der kraftvollsten, einfachsten, sichersten Der Beitrag Shiva Shambo mit Viveka erschien zuerst auf Yoga Vidya Blog - Yoga, Meditation und Ayurveda.

Ananta und die Yoga Vidya Kirtanband singen “Shambho Mahadeva Chandrachuda” in einem Satsang bei Yoga Vidya in Bad Meinberg. Du findest diesen Kirtan im Yoga Vidya Kirtanheft unter der Nr. 253. Weitere Erläuterungen zu diesem Kirtan sind online im Yoga Vidya Kirtanheft Blog unter Shambho Mahadeva Chandrachuda zu finden. Hier ist der Text zum Mitsingen: Shambho Mahadeva Chandrachuda Gangadhara Hara Kailasavasa Pahi Mam Parvati Ramana Shambho Mahadeva Chandra Chuda ist ein sehr populärer Shiva Kirtan. Er beginnt typischerweise sehr ruhig und meditativ und kann dann mit jeder Wiederholung schneller und dynamischer gesungen werden. Obgleich Shambho Mahadeva Chandrachuda viele verschiedene Wörter Der Beitrag Shambho Mahadeva Chandrachuda mit Ananta und der Yoga Vidya Kirtanband erschien zuerst auf Yoga Vidya Blog - Yoga, Meditation und Ayurveda.

Ananta und die Yoga Vidya Kirtanband singen “Shambho Mahadeva Chandrachuda” in einem Satsang bei Yoga Vidya in Bad Meinberg. Du findest diesen Kirtan im Yoga Vidya Kirtanheft unter der Nr. 253. Weitere Erläuterungen zu diesem Kirtan sind online im Yoga Vidya Kirtanheft Blog unter Shambho Mahadeva Chandrachuda zu finden. Hier ist der Text zum Mitsingen: Shambho Mahadeva Chandrachuda Gangadhara Hara Kailasavasa Pahi Mam Parvati Ramana Shambho Mahadeva Chandra Chuda ist ein sehr populärer Shiva Kirtan. Er beginnt typischerweise sehr ruhig und meditativ und kann dann mit jeder Wiederholung schneller und dynamischer gesungen werden. Obgleich Shambho Mahadeva Chandrachuda viele verschiedene Wörter Der Beitrag Shambho Mahadeva Chandrachuda mit Ananta und der Yoga Vidya Kirtanband erschien zuerst auf Yoga Vidya Blog - Yoga, Meditation und Ayurveda.

This Hanuman chalisa I sang with full of devotion and love with Hanumanji. Devotion and love is the thing which can be experienced or feel it. If you feel this Hanuman chalisa complete devotional please download it. Like. Share and message on it. You are the real lover of it. I know you will definitely love this Hanuman chalisa. Listen to my new released song har har shambhu Mahadeva is available in apple music and deezer store. Here is the link of it. https://music.apple.com/us/album/har-har-shambhu-shiv-mahadeva-single/1677307225 Follow me on Twitter https://twitter. com/chhaya668 subscribe to my channel https://utube. com/chhaya21 Jai Hanuman

A version of this essay has been published by firstpost.com at https://www.firstpost.com/opinion/shadow-warrior-sarpam-thullal-naga-dance-of-kerala-12175812.htmlKerala has a long tradition of Naga (sarpa, serpent) worship, as has also been the case in some parts of the Northeast. There are sarpa kavu or untouched patches of virgin forest, where serpent deities reside. There are large temples, for example Mannarsala, where childless couples make offerings to gain the boon of a baby: Nagas are believed to grant fertility. The Theyyams of Malabar, as well as the bhoota kola of neighboring Tulunadu, celebrate the autochthonic deities of the region. As in the superb film Kantara and to a lesser extent in the film Malikappuram about a girl-child who is an ardent devotee of Swami Ayyappan of Sabarimala, the deities of the land are a powerful presence in the daily lives of the faithful.In Kantara the traditions are presented with neither explanation nor apology: they just are. In Malaikappuram, which is a very good film as well, there is a bit of a tendency to ‘explain' away mystical and spiritual experiences in ‘modern, scientific' terms (which Kantara wisely refrains from, and that is a major part of its charm). There are traditions where the deities physically inhabit the faithful who have been chosen and undergone the required purification rituals, and the faithful have experiences that are not necessarily amenable to rational, scientific explanation: which probably just means that science hasn't caught up with tradition. The oracle-like velichapads of Kerala, the oracular vestal virgins of ancient Greece, and the spirit dancers of the bhoota kola are examples.So are the Nagaraja, Naga Yakshi, Sarpa Yakshi, Mani Nagam, Kari Nagam, Kuzhi Nagam and Kanyavu of the sarpam thullal that I attended at the family temple of some relatives in Alappuzha district in Kerala. They are chosen from among the matrilineal descendants of the family. Apart from the Nagaraja who is a male, the others are all female, and the Kanyavu is a pre-pubescent girl-child. In passing, matriliny/Devi worship and Naga worship appear to go hand in hand.  I had seen videos of and listened to the hypnotic music of the sarpam thullal before: it is easy to imagine being induced into a trance while listening to it. But this was the first time I was fortunate enough to see it.The ‘penitents' stay in the temple for a week or so. (I am reluctant to use that term because they are not sinners, but rather the chosen few who are fortunate enough to experience the rituals first hand. But that seems to be the closest term in English. I think I'll instead use the neutral term ‘Naga dancers' for them.) They undergo purification rites (kappu kettu), perform ritual vrtam, and are put on a special sattvic diet that excludes salt or spice. In addition, there are piniyal (literally minions), other family members who are not part of the thullal itself, but whose duty it is to protect the vulnerable Naga dancers who do enter into a trance-like state and are unaware of their surroundings as they sway to the music. The piniyal do not have to stay in the temple but do undergo the same vratam.This particular sarpam thullal is conducted once every three years, and it goes on for three days at the temple, which was cleaned up, the surroundings cleared of vegetation, and lit up with bright lights. There are several thullals a day: late morning and/or late afternoon and late night. I attended the second day's events, afternoon and night: it went on till two in the morning. The entire function is orchestrated by a Pulluva chief, a tribal man who has a traditionally strong connection with Naga deities. In most temples in Kerala, there is a subsidiary shrine for the Naga deities, and on auspicious days, especially the ayilyam (ashlesha) nakshatra which is associated with Nagas, a Pulluva singer will sing an invocation for you, playing his violin-like instrument that is the basis of the thullal music, which also includes a deft chenda drum orchestra and nadaswaram pipes.A major part of the thullal is the creation of the kalam or the drawing on which the naga dancers perform their dance, swaying to music. This is done in a custom-built pandal (covered temporary structure decorated with young coconut leaves). Using vegetable dyes, the Pulluva can quite amazingly create a beautiful and complex drawing in a couple of hours, with a Naga theme. Sadly, it is ephemeral, because the dancers will destroy it shortly thereafter. These photos are of a kalam in the shape of a serpent coiled around a black palm tree (karimpana), with various Naga dancers in the foreground, getting ready for the thullal. The dancers are brought to the kalam after an invocation ceremony and obeisance to the deities. They do a circumambulation of the kalam, and then they are given a bunch of tender florets of the arecanut tree, which they hold to their faces. Apparently the fragrance of the florets helps induce the trance state, and then they move to the kalam and start swaying rhythmically to the music, which waxes and wanes in a sinuous manner in a metaphor for a serpent's motion.As they move around, the dancers appear to become more and more detached from their normal, daily selves, and more and more involved in the trance state. Their movements become more uncontrolled, and their eyes and expressions take on an other-worldly hue. They are liable to hurt themselves by hitting the pillars of the pandal, or falling into the audience crowding around. So their piniyal form a protective cordon, linking arms, so that the dancers are safe.They are given tender coconuts to refresh them while they dance. Sometimes they seem to be searching for someone in the audience. They may choose a person, and summon them to give them a tender coconut, in what is considered a blessing. Indeed, the dancers look mesmerized. I was told by a niece that a few years ago, she was watching the dance, and suddenly she felt the uncontrollable urge to join the dancers herself, and so she did. After dancing the kalam to dust, the dancers then run to the sarpa kavu (sacred grove) and the nearby temple pond, where they immerse themselves, again with the piniyal joining them to ensure they don't harm themselves. I watched the young Nagaraja run with astonishing speed to the kavu, so fast that his piniyal couldn't keep up. He crashed into a tree and I was afraid he might have suffered a concussion. But doctors examined him, and he was fine. In our case, the Naga dancers included several young women, a middle-aged woman who had come all the way from the US, the teenaged Nagaraja, and the 9 year-old girl Kanyavu. I noticed that the Kanyavu was reluctant to participate. She stood aside, looking confused. But on the final day, she suddenly danced with full enthusiasm. After their visits to the kavu and the pond, the Nagas, now soaking wet, come back to the kalam pandal, and after some further ceremonies, that thullal is over, and they go back to their temporary accommodation in the temple. There are two or three thullals a day, and it obviously physically taxing for the Nagas, as well as for piniyal. The most elaborate one is at night and it goes on well into the early morning, say 2am. I was present for the afternoon and night thullal on the second day. I should have been there for the third and concluding day, but I had to leave. So I was watching the live broadcast of the event around 11pm, and then there was a commotion among the ladies sitting on mats on the ground next to the kalam. It was because a small serpent was sinuously wending its way towards the main temple steps. This was astonishing. It was a finger-sized serpent about 3 feet in length, with a silvery spotted body. It went as far as the steps to the main Mahadeva shrine, in front of which the kalam pandal was, and remained there for a while. Then it slithered up the back of a plastic chair, coiled itself around it, and remained there for the rest of the thullal until the final ceremony.Someone brought the serpent a little nurum palum on a banana leaf: this is the mixture of milk, turmeric etc that is the main offering at Naga ceremonies. The serpent appeared to take a few sips of this. Let us remember that all this happened in a place where the entire vegetation had been removed using a JCB backhoe just a week or two prior. There were a couple of hundred people sitting or milling around the pandal. There was deafening amplified music from the chenda orchestra. None of this seemed to deter the serpent. After the final ceremony where the Naga dancers return to their normal lives (kapp-azhippu), it disappeared below the roots of one of the nandyar-vattam medicinal plants around the temple, without any fuss.I had heard from a relative that a few years prior, three serpents had come to this thullal. To be honest, I was skeptical: why would serpents, which try to avoid humans, come to such a loud ceremony? Then I saw a video of a recent thullal in another temple in Alappuzha, where again a finger-width (but this time golden-colored) serpent had arrived, stayed, and then disappeared.But the fact that I was seeing this in real time (albeit on video feed) was staggering. None of my rational, scientific beliefs could explain what had happened: why on earth did this serpent appear and seem to be unperturbed, and even enjoy the ceremony? I have no answer. The only thing I can think of is Kantara's premise: there are spirits and demi-gods all around us, if only we learn to look. There is the belief that the real Nagas (such as the slender silver- and gold-colored ones I saw in videos) are not the same as the usual snakes one encounters. These are special, with semi-divine attributes, and they are the ones that accept our offerings.One of my favorite writers, the brilliant Malayalam fabulist O V Vijayan, once explained to me his short story The Little Ones, about benign ancestral spirits that appeared as points of light in the sky when the family was going through troubles. It's the same idea: unseen, unknown and often benign (presumably there are malign ones too) powers that we are only dimly aware of. I had wanted for years to see a sarpam thullal, because of the hypnotic quality of its music that I had heard, and because of the connection between matriliny, Devi worship and Naga worship that were all hallmarks of Hindu Kerala society for long. It is my theory that these, along with ample monsoon rains and the rice and spice trade, had enabled Kerala, especially Travancore, to be a fairly prosperous tropical paradise. Now that I have seen the thullal, I am even more in awe of my ancestors, who knew a thing or two: they had some of the most accurate calendars in the world; in the 14th century CE, Kerala mathematician Madhava of Sangamagrama discovered rapidly converging infinite series for trigonometric functions (the basis of calculus and of navigation across the open ocean). As early as the 2nd century BCE, Pliny the Younger was complaining that Roman coffers were being emptied for the spices of Kerala, especially pepper. We must try to understand why our long-standing traditions have survived. Lindy, as Nassim Taleb would say: they survived because they have meaning, and value.1950 words, 13 Feb 2023 This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit rajeevsrinivasan.substack.com

Once the God of wealth Kubera became very proud of his prosperity. He started throwing lavish parties to host all the Gods, to showcase his wealth. He invited Mahadeva many times, but Mahadev he refused. Kubera started visiting Mahadeva at Kailash and started offering Him jewels and ornaments. Mahadeva was not impressed by such offerings, but he sensed Kubera's arrogance and decided to teach him a lesson. Next time when Kubera invited Mahadeva for his party, Mahadeva declined the invitation as usual, however he suggested his son Ganesh would visit instead.  Kubera welcomed Ganapati in his lavish abode and offered him food. Ganapati ate whatever Kubera offered, but was still not satisfied, so he asked for more food. Kubera served more food, which was also consumed by Ganapati. Vinayak kept eating whatever Kubera offered and still demanded for more. In the end Kubera ran out of food to serve, but Ganapati was still hungry.  To protect himself from Ganapati's wrath, Kubera went running to Mahadeva and requested for his help. Knowing that he had learned his lesson, Mahadev suggested that Kuberhe prays to Mata Parvati. Kubera pleaded to Mata Parvati forto help. Mata Parvati went to Kubera's palace and offered a Modak to Ganapati. Ganapati ate the Modak offered by his mother and was instantly full. Kubera learned a lesson in humility and never again bragged about his possessions.    Learn more about your ad choices. Visit megaphone.fm/adchoices

Výtvarníčka Jana Želibská veľmi rýchlo pochopila, že v spoločnosti chýba ženský element, aj preto tematizovala vo svojej ranej tvorbe sexualitu a telesnosť, hovorí kurátorka SNG Lucia Gregorová Stach.

“…Shambhu, or Lord Shiva, is the ideal Vaishnava. He constantly meditates upon Lord Rama and chants Hare Rama, Hare Rama, Rama Rama, Hare Hare. Lord Shiva has a Vaishnava sampradaya, which is called the Vishnu Svami-sampradaya.” (Shrila Prabhupada, Shrimad Bhagavatam, 3.23.1 Purport)

Shory story

Shivam Strota. --- Send in a voice message: https://anchor.fm/arvindramas/message Support this podcast: https://anchor.fm/arvindramas/support

Har Har Shambhu | Mahadev New Song | har har shambhu shiv mahadeva | Shiv Bhajan | Mahakaal

Lyrics:Shambho MahadevaShiva Shambho MahadevaChandrakaladhara GangadharaGowrivara ShankaraShiva Shiva Shiva Shambho Hara Hara Hara ShambhoHara Gowrinath ShambhoHara Sainath ShambhoMeaning:Glory to Lord Shiva ! ( who is also known as the Mahadeva and Shambho), the One who adorns the crescent Moon on His forehead and the sacred river Ganges on His matted locks, the One who is the consort of Gowri.

Lyrics:Shiva Hara Hey Hara Shiva HeySamba Sadashiva Shiva Hara HeyHara Hara Hara Hara MahadevaParvathi Ramana Sada ShivaNamami Shankara Tava CharanamBhajami Shankara Tava CharanamMeaning:We offer our obeisances and worship at the feet of Lord Shiva who is worshipped as Sadashiva, Hara (the one who redeems from all troubles) Mahadeva and as the consort of Mother Parvathi.

Ishwara singt in einem Samstagabend Satsang den Kirtan Shambho Mahadeva Chandrachuda. Du findest diesen Kirtan im Yoga Vidya Kirtanheft unter der Nummer 253 bzw. direkt hier: Shambho Mahadeva Chandrachuda Shambho Mahadeva Chandrachuda Gangadhara Hara Kailasavasa Pahi Mam Parvati Ramana Shambho Mahadeva Chandra Chuda ist ein sehr populärer Shiva Kirtan. Er beginnt typischerweise sehr ruhig und meditativ und kann dann mit jeder Wiederholung schneller und dynamischer gesungen werden. Dies ist eine Live-Aufnahme von Yoga Vidya. Wenn du dich für Seminare mit Musik interessierst, findest du hier Seminare zum Thema Mantra und Musik. Für weitere Kirtan- und Mantra Gesangsaufnahmen klicke Der Beitrag Shambho Mahadeva Chandrachuda mit Ishwara erschien zuerst auf Yoga Vidya Blog - Yoga, Meditation und Ayurveda.

Paul Leinwand is the Global Managing Director of Strategy&, PwC's strategy consulting group, where he advises clients on the topics of strategy, growth, and capability building. Leinwand is also an Adjunct Professor of Management and Strategy at Northwestern University's Kellogg School of Management. He has co-authored three books as well as several articles in the Harvard Business Review and strategy+business. Mahadeva Matt Mani is a Partner at PwC's Strategy&. As a global leader of their transformation platform, he works with companies and leaders across industries to achieve improvements in business performance and organization cost and effectiveness. Mani has over 25 years of industry and consulting experience, and he's co-authored one book and many articles published in the Harvard Business Review and strategy+business. In this episode: Digital transformation isn't just about the latest and greatest technology — it's also about leadership. But how is digital changing the work and role of a leader? What do leaders need to succeed in the digital age? Paul Leinwand and Mahadeva Matt Mani talk about this and more as they join Thomas A. Stewart on The Leading Edge — a place where new ideas emerge and are sharpened, and where leaders look to find the edge that brings success for themselves, their teams, and their enterprises. With the rise of digital, many leaders are worried about keeping up with the newest tool or strategy. But, Leinwand and Mani say there's a more important question that leaders need to address: how are you going to lead your organization through these changes? These two strategy experts have thoroughly researched the effects of digital transformation on leaders in a multi-year, in-depth study of leadership, digitization, and transformation at a dozen companies, ranging from Honeywell to Adobe, Microsoft to Komatsu. In their book, Beyond Digital: How Great Leaders Transform Their Organizations and Shape the Future, they detail how these and other enterprises have navigated this shift and the key steps leaders should follow to find success digitally. Instead of focusing on processes and tools, Leinwand and Mani say that companies must begin by reimagining their place in the world, starting from there to rethink strategy, talent, and the products and services they sell. As the digital world evolves, so do the expectations of a leader. How do you uniquely contribute to customers and stakeholders? What value can you bring to your ecosystem of networks to create a win-win for everyone? The foundations of success in the digital age are laid in a values-based circle of trust between you, your team, and your customers. Focusing on this will help you and your organization stay relevant — regardless of the digital disruption around you. In this episode of The Leading Edge, Thomas A. Stewart sits down with Paul Leinwand and Mahadeva Matt Mani, Global Managing Director and Partner of Strategy&, respectively. Together, they discuss how leadership is changing in this new digital age. Leinwand and Mani lay out the steps leaders should take to navigate current changes, the skillsets leaders need to succeed digitally, and how to gain privileged insights from a value-based customer relationship.

Recorded 3rd March 2022visit: http://beautyofreallove.com/visit: https://sadhumaharaja.net/audio: https://www.spreaker.com/show/beauty-of-real-love#raganugabhakti #bhaktiyoga #radha

The Chidambaram Temple dedicated to Lord Nataraja, has a an enclosure , which contains nothing to indicate Akasa Roopa of Shiva, It is considered a Secret which many have tried tom unravel. The Nataraja temple, Chidambaram,Tamil Nadu,India is a representation of the Microcosm and Macrocosm and the temple architecture is designed to resemble Human activities including the number of Breaths taken in a day and the number of Nerve endings in Human Body.There is a Temple near Kottayam in Kerala, India. Dedicated to Lord Shiva as Mahadeva, there is a secret room which is believed to be a powerhouse, is kept locked most of the times, while a lamp is lit. A serpent is reported to be guarding it. The temple houses a Rahasya Ara (secret cabin) where the divine power is located. This is considered a reservoir for the power of the idol. The cabin is well protected with granite stones. A lamp is lighted every day in front of it, before the other main lamps are lighted. A serpent is believed to be sitting in front of this to safeguard the place. There is also a water well, with a perennial spring of cool water. This believed to have a connection with the Ganges, originating from the divine head of Lord Shiva. Although the well is in the uppermost part of the village, its water has never gone below a certain level, even when most of the wells in the village have dried up. How to reach. Ayamkudy is only slightly off from the road linking Kottayam and Ernakulam. Public buses are the best way to access Ayamkudy. There are few dozen buses plying between Kottayam and Vaikom, many of which have stops in Ayamkudy. Alternatively, one can hire a taxi/auto rickshaw from the nearby town of Kaduthuruthy, which is well connected to other cities and towns in the state. Kottayam and Ernakulam are the nearest major railroad stations; Cochin International Airport (IATA: COK) is the nearest airport. The major place near Ayamkudy is Jeriyappan Kavala. The history of the temple or its origin could be dated back as early as 1000 AD. The main idol is a Shivalingam, supposed to have appeared on its own in the homagni (sacred fire) in a Brahmin's house at Ayamkudy. This Brahmin, Namboothiri, was an ardent devotee of Vaikathappan, a temple 15 kilometres (9.3 mi) away. According to legend, he was unable to get to the temple for worship due to his old age, so the deity of that temple (Vaikathappan) appeared in his Upasana Homagni. The temple was constructed later and it stands presently as the top center of the village. There seem to have been seven Ooranma families (owners) of the temple; however, only five still have living members. The present Ooranma Families include Pattamana Illam, Ettikkada Mana, Irishi Illam, Marangatta Mana and Neithasseri Mana.https://ramanisblog.in/2015/04/05/shiva-temple-with-a-secret-powerhouse-thiruvayamkudi/ --- Send in a voice message: https://anchor.fm/ramanispodcast/message

Lyrics:Neelakantha Mahadeva Gowri VandanaChandra Chooda Daya Natha Nandi VahanaSamba Shiva Shooladhari Naga BhooshanaPhala Netra Uma Kanta Parama PavanaMeaning:O God of Gods, the blue-throated one, You are worshipped by the Divine Mother Gowri. You are adorned with the moon on Your tresses, and has Nandi (the great bull) as Your vehicle. You are full of compassion. You carry the Trident and wear the snake as ornament. With Mother Uma as consort, You are adorned with the third eye and the purest of the Pure. Bless us all at all times.

Muhammad's uncle was one of the resident priests of the Shiv temple known as “Kaaba”. Prophet Muhammad's uncle (Chacha) Umar-bin-e-Hassham (also known as Abu Hakam or Abu Jahl) was a renowned poet whose famous Arabic poem in praise of Lord Shiva, included in Sair-ul-Okul and cited on a column in the (fire worship pavilion in the rear garden of the) Lakshmi Narayan Temple in New Delhi The Shiva Sloka Kafavomal fikra min ulumin Tab asayru Kaluwan amataul Hawa was Tajakhru We Tajakhayroba udan Kalalwade-E Liboawa Walukayanay jatally, hay Yauma Tab asayru Wa Abalolha ajabu armeeman MAHADEVA Manojail ilamuddin minhum wa sayattaru Wa Sahabi Kay-yam feema-Kamil MINDAY Yauman Wa Yakulum no latabahan foeennak Tawjjaru Massayaray akhalakan hasanan Kullahum Najumum aja- at Summa gabul HINDU Translation. The man who may spend his life in sin and irreligion or waste it in lechery and wrath If at least he relent and return to righteousness can he be saved? If but once he worship Mahadeva with a pure heart, he will attain the ultimate in spirituality. Oh Lord Shiva exchange my entire life for but a day's sojourn in India where one attains salvation. But one pilgrimage there secures for one all merit and company of the truly great. Citation. https://ramanisblog-in.cdn.ampproject.org/v/s/ramanisblog.in/2015/02/09/shiva-sthuthi-by-prophets-uncle-umar-bin-e-hassham/amp/?amp_js_v=a6&_gsa=1&usqp=mq331AQKKAFQArABIIACAw%3D%3D#aoh=16447128697701&csi=1&referrer=https%3A%2F%2Fwww.google.com&_tf=From%20%251%24s&share=https%3A%2F%2Framanisblog.in%2F2015%2F02%2F09%2Fshiva-sthuthi-by-prophets-uncle-umar-bin-e-hassham%2F --- Send in a voice message: https://anchor.fm/ramanispodcast/message

Probably no other country in the world has deliberately written off a 2,500 year period of their own history by systematically stamping out and snapping all links with the past. They have wiped the memories of pre-Muslim era off their minds. So while they chose to remain ignorant of their past ironically enough it is they who dub the pre-Muslim era as a period of ignorance.   King Vikramadithya's Empire included what is now called Saudi Arabia. Please read my Post Vikramadhiya's Empire. Mecca houses Shiva Linga  and 786 is Om Flipped ,read my post on this. In Istanbul in Turkey, there is a famous library called Makteb-e-Sultania which is reputed to have the largest collection of ancient West Asian literature. In the Arabic Section of that library is an anthology of ancient Arabicpoetry. That anthology was compiled from an earlier work in A.D. 1742 under the orders of the Turkish ruler Sultan Salim. The anthology is known as SAYAR-UL-OKUL. It is divided into three parts, the first part contains biographic details and the poetic compositions of pre-Islamic Arabian poets. The second part embodies accounts and verses of poets of the period beginning just after Prophet Mohammad up to the end of Banee- Ummayya dynasty. The third part deals with later poets up to the end of Khalifa Harun-al-Rashid's times. Incidentally “Banee” means “Vanee” and Ummayya as in Krishnayya are Sanskrit names. Abu Amir Abdul Asamai, a distinguished Arabian bard who was the Poet Laureate of Harun-al-Rashid's court has compiled and edited the anthology. The first modern edition of Sayar-ul-Okul anthology was printed and published in Berlin in A.D. 1864. A subsequent edition was published in Beirut in A.D. 1932. This work is regarded as the most important and authoritative anthology of ancient Arabic poetry. It throws considerable light on the social life, customs, manners and entertainment forms in ancient Arabia. The book also contains an elaborate description of the ancient Mecca shrine, the town and the annual fair known as OKAJ which used to be held there every year. This should convince readers that the annual Haj of the Muslims to the Kaaba is only a continuation of the old fair and not a new practice. But the OKAJ fair was far from a carnival. It provided a forum for the elite and learned to discussthe social,religious,political, literary and other aspects of the Vedic culture then pervading Arabia. Sayar-ul-Okul asserts that the conclusions reached at those discussions were widely respected throughout Arabia. Mecca, therefore, followed the Varanasi tradition of providing a seat for important discussions among the learned while the masses congregated there for spiritual bliss. The principal shrines at both Varanasi in India and at Mecca in Arvasthan were Shiva temples. Even to this day the central object of veneration at both Mecca and Varanasi continues to be the ancient Mahadeva emblems. It is the Shankara stone which Muslim pilgrims reverently touch and kiss in the Kaaba. As the pilgrim proceeds towards Mecca he is asked to shave his head and beard and to don a special sacred attire. This consists of two seamless sheets of white cloth. One is to be worn round the waist and the other over the shoulders. Both these rites are remnants of the old Vedic practice of entering Hindu shrines, clean-shaven and with holy seamless spotless white sheets. The main shrine in Mecca which houses the Shiva emblem is known as the Kaaba. It is clothed in a black shroud. This custom could also originate from the days when it was thought necessary to discourage its recapture. According to encyclopaedias Britannica and Islamia the Kaaba had 360 images. https://www.britannica.com/topic/Kaaba-shrine-Mecca-Saudi-Arabia. www.ramanisblog.in --- Send in a voice message: https://anchor.fm/ramanispodcast/message

Lyrics:Shambho Mahadeva Mallikarjuna Mangala Charana TrilochanaPinaka Pani Parvati RamanaBhava Bhaya Harana SanatanaParthi Purishwara Patita PavanaMeaning:Our salutations at the Lotus Feet of Lord Shiva who wields the bow Pinaka, who is the consort of mother Parvati, who destroys the fear of materialistic world and who is none other than our Lord Sai of Parthi.

Lyrics :Jai Jai Guru Deva Sri Sai MahadevaBrahma Vishnu Maheshwara Sai MahadevaMata Pita Guru Deva Sri Sai MahadevaMeaning :Glory to the revered preceptor Mahadeva, who is the embodiment of Mother, Father, Preceptor and the Trinity Brahma, Vishnu and Maheshwara.

Lyrics:Pranam Sweekar Karo Sai MahadevaSai Mahadeva Sai MahadevaAllah Eshwar Yesu SaiBuddha Mahavira Nanak SaiNatana Sutradhari Jagannatha SaiSai Mahadeva Sai MahadevaMeaning:Accept our salutations O Sai, the Lord of Gods, You are verily the Supreme One, be it Allah, Eshwar, Jesus, Buddha, Mahavira and Guru Nanak. You are the supreme Director and Lord of the world.

Lyrics:Shambho Mahadeva Shiva Shambho MahadevaHara Haraya Bhava Bhavaya Shiva Shivaya Namah OmOm Namah Shivaya Om (2)Meaning:I seek refuge in Lord Shiva who is the supreme God. I offer myself to the one who is the destroyer of ignorance, who manifests as the existence and who is the embodiment of auspiciousness.

Lyrics:Mahadeva Maheshwara Sai NarayanaNata Naagara Dukha Bhanjana Sai NarayanaKarunakara Akhileshwara Sai NarayanaAllah Ho Tum Mahaveer Yeshu Sai NarayanaHrudayeshwara Parthishwara Sai NarayanaMeaning:Sai Narayana is the Lord of all worlds, Epitome of compassion, destroyer of Sin, playful and the supreme Lord of Lords!Sai Narayana is Allah, Mahaveer and Yeshu. He is the indweller and the Lord of Parthi as well.

Shiva also known as Mahadeva is one of the main deities of Hinduism. With pre-Vedic roots, Shiva is an amalgam of various non-Vedic deities, such as the Rigvedic storm god Rudra. In the Trimurti, which includes Vishnu and Brahma, Shiva is referred to as the Destroyer. He is the Supreme Lord who creates and protects the universe. In the Shakta tradition, a goddess is referred to as the Devi, with Parvati as the equal partner of Shiva.There are many depictions of Shiva in both benevolent and ferocious aspects. In his noble aspects, he is depicted as a wise and ascetic living on Mount Kailash with his wife, Parvati, and their two children.Shiva is a deity worshipped in various Hindu countries and traditions like India, Nepal, Sri Lanka and Indonesia. He is depicted with a serpent around his neck, with the moon's crescent moon and the holy river Ganges flowing from his forehead.Read more at https://mythlok.com/shiva/

Los Mantras son la música para el Alma. Son ese camino que se salta el pensamiento racional y nos lleva directamente a experimentar con nuestra esencia. En esta ocasión conversamos sobre qué son los Mantras, con Rayim Ferrera. Rayim es el fundador y maestro espiritual de la Escuela de filosofía, meditación y kirtan MAHADEVA. Lo que vas a conocer: - La historia personal de Rayim - Qué son los Mantras y por qué son «la música para el alma».  - Rayim nos comparte y canta uno de sus mantras al final del episodio. Recursos del episodio - Rayim Ferrera en Youtube - Rayim Ferrera en Facebook - Contacta personalmente a Rayim en su teléfono: +52 1 55 3979 9685 Para acceder a más contenidos, escritos, cursos, etc, visita la web de Arezky https://arezkyhernandez.com Subscribe to Conversaciones de Luz on Soundwise

Ishvara sings a Shiva Kirtan with you. This version will touch you deeply. Give it a try! Lyrics: Shambho Mahadeva Candracuda Shankara Samba Sadashiva Gangadhara Hara Kailasa Vasa Pahi Mam Parvati Ramana Here you can find: Free Online Kirtan Book English Seminars Intensive 4-weeks International Yoga Teachers‘ Training

Ishwara sings the Mantra Shambho Mahadeva Chandrachuda in a Saturday evening satsang at Yoga Vidya in Bad Meinberg, Germany. You can find this mantra in the Yoga Vidya Kirtan booklet under No. 253. Further explanations of this Kirtan can be found online in the Yoga Vidya Kirtan booklet Blog at Shambho Mahadeva Chandrachuda. Here is the text to sing along: Shambho Mahadeva Chandrachuda Gangadhara Hara Kailasavasa Pahi Mam Parvati Ramana If you are interested in seminars with music, you can find here seminars on mantra and music. For more kirtan and Mantra vocal recordings click here. More information on yoga, meditation and ayurveda can be found on the internet pages of Yoga Vidya.

Ishwara sings the Mantra Shambho Mahadeva Chandrachuda in a Saturday evening satsang at Yoga Vidya in Bad Meinberg, Germany. You can find this mantra in the Yoga Vidya Kirtan booklet under No. 253. Further explanations of this Kirtan can be found online in the Yoga Vidya Kirtan booklet Blog at Shambho Mahadeva Chandrachuda. Here is the text to sing along: Shambho Mahadeva Chandrachuda Gangadhara Hara Kailasavasa Pahi Mam Parvati Ramana If you are interested in seminars with music, you can find here seminars on mantra and music. For more kirtan and Mantra vocal recordings click here. More information on yoga, meditation and ayurveda can be found on the internet pages of Yoga Vidya. Folge direkt herunterladen

Shiva Shiva Shiva Shambho Shiva Shiva Shiva Shambho Mahadeva Shambho Mahadeva Shambho Here you can find: Free Online Kirtan Book English Seminars Intensive 4-weeks International Yoga Teachers‘ Training

Shiva Shiva Shiva Shambho Shiva Shiva Shiva Shambho Mahadeva Shambho Mahadeva Shambho Here you can find: Free Online Kirtan Book English Seminars Intensive 4-weeks International Yoga Teachers‘ Training

CHIT CHAT with Mahadeva about his difficulties with addictions, especially gambling. He talks about why he started gambling at such a young age, how it was a secret shame he carried for years, and what he personally did to overcome it.

Raas Leela, the joyful dance of Krishna and the gopis has been immortalized in legend. Sadhguru looks at its significance, and explains why even Shiva, the Mahadeva, was attracted to it.

Raas Leela, the joyful dance of Krishna and the gopis has been immortalized in legend. Sadhguru looks at its significance, and explains why even Shiva, the Mahadeva, was attracted to it.Conscious Planet: https://www.consciousplanet.org Sadhguru App (Download): http://onelink.to/sadhguru__appOfficial Sadhguru Website: http://isha.sadhguru.orgSadhguru Exclusive: https://isha.sadhguru.org/in/en/sadhguru-exclusiveSee omnystudio.com/listener for privacy information.

This story tells about how Lord Shiva attracted towards Mohini avatar of Lord Vishnu

The man who is an undertaker in Bangalore city who ferries unclaimed bodies.... How he made a unique idea on his regular works --- Send in a voice message: https://podcasters.spotify.com/pod/show/sandyponders/message Support this podcast: https://podcasters.spotify.com/pod/show/sandyponders/support

Notations -> http://www.shivkumar.org/music/#d Dharma Samvarddhani Ragam: Madhyamavati (22nd Mela Janyam) ARO: S R2 M1 P N2 S || AVA: S N2 P M1 R2 S || Talam: Rupakam Composer: Dikshitar Version: Hyderabad Brothers Lyrics/Meaning Transcription: Smt. Geetha Kalyanaraman and Smt. Sharanya Shivkumar Pallavi: Dharma Samvarddhani Danuja Sam Marddani Dharaadhara-atmaje Aje Dayayaa Maam Paahi Paahi Anupallavi: Nirmala Hrudaya Nivaasini Nityaananda Vilaasini Karma Jnaana Vidhaayini Kaankshitaarttha Pradaayini Charanams: Madhava Sodari Sundari Madhyamaavati Shankari Maadhurya Vaagvijrumbhini Mahaadeva Kutumbini Saadhujana Chittaranjani Shashvata Guruguha Janani Bodharupini Niranjani Bhuvanesa Durita Bhanjani Paadaja Vishva Vilaasini Panchanadi Sollasini Veda Sastra Vishvaasini Vidhi Hari Haya Prakaashini Meaning: (FROM T.K. Govinda Rao's book) DHARMASAMVARDHANI! Who stimulates righteousness, who destroyed ("sammarddani") the demons ("danuja") daughter ("-atmaje") of the HIMAVAN;("dharadhara "). You are unborn ("aje") protect me ("pahi pahi") out of your compassion ("dayaya"). Who inhabits ("nivasini") in the heart ("hrudaya") of the pure ("nirmala") and delights ("vilasini") in eternal bliss ("nitya-ananda"). Who ordains ("vidhaayini") both KARMA and JNANA and grants ("pradayini") whatever is desired ("kankshita-artha"). Sister ("sodari") of MADHAVA! Beauty incarnate ("sundari")! Oh SANKARI! Extolled by the RAGA MADHYAMAVATI! One who has mellifluous voice;("madhurya vaag-vijrumbhini"). Who is the spouse ("kutumbini") of MAHADEVA. One who delights the hearts ("citta-ranjani") of pious people.("sadhujana") Mother of ("janani") eternal ("sasvata") GURUGUHA. She is of the nature of enlightment;("bodharupini") is blemishless;("niranjani"). Sovereign of the world,("bhuvanesa") destroys all miseries;("durita-banjani". She manifests Herself as the universe("visva-vilasini"). by Her feet ("padaja"). She enchants Lord PANCANADISA;("pancanadi-sollasini"). She is the essence ("visvasini") of VEDAs and SASTRAs. Who illumines ("prakasini") BRAHMA,("vidhi") VISHNU("hari") and PARAMASIVA.("haya")

Notations -> http://www.shivkumar.org/music/#p Pamarajana Palini Ragam: Simhendramadhyamam (Sumadyuti): 57th Melakartha ARO: S R2 G2 M2 P D1 N3 S || AVA: S N3 D1 P M2 G2 R2 S || Talam: Rupakam Composer: Dikshitar Version: Hyderabad Brothers Lyrics/Meanings Courtesy: www.sangeetham.com Pallavi Paamarajana Paalini Paahi Bruhannaayaki Samishti Charanam: Kaamithaarttha Phaladaayini Kaarunyaamruta Vaahini Komala Hrudaya Nivaasini Guruguha Mati Prakaashini Seemantini Nata Mantrini Shree Mahaadeva Ranjani Meaning: (www.sangeetham.com) This kriti is on the presiding Goddess at the Big Temple in Tanjavur. This kriti is set to the 57th melakarta that is now called Simhendramadhyamam, but was known to Dikshitar as sumadyuti O Protector (“paalini”) of the helpless (“pamara-jana”)! Goddess of the enormous (“bruhann”) form (“naayaki”)! Protect me (“paahi”)! Giver (“daayini”) of all desired (“kaamithaartha”) boons (“phala”)! One who rains (“vaahini”) the nectar (“amruta”) of compassion (“kaarunya”)! Residing (“nivaasini”) in the hearts (“hrudaya”) of those who are soft (“komala”) natured! One who shines (“prakaashini”) as Subrahmanya's (“guruguha”) intellect (“mati”)! Goddess (“seemanthini”) ! Worshipped (“nata”) by Mantrini! Enchantress (“ranjani”) of Mahadeva!

Notations -> http://www.shivkumar.org/music/varnams/index.html#geethams Ragam: Khamas (28th mela janyam) Arohana: S M1 G3 M1 P D2 N2 S || Avarohana: S N2 D2 P M1 G3 R2 S || Talam: Adi Notes Courtesy: (Rani) www.karnatic.com Composer: Chinnakrishna Dasar Pallavi: sAmba shivAyanavE rAjitagiri sAmbavI manOharA parAtparA krpAkarA shrI Charanam 1: nIvE guru daivambaniyE vELanu sEvimpucu sadA midini shiva Charanam 2: parama dayAnidhi vanucu maruvaka nA hrdayamuna mahAdEva mahAprabhO sundara nayana suravara dAyaka bhavabhaya harashiva Charanam 3: sthira madurApuramuna varamulosagu haruni niratamunu dalaci Charanam 4: shrI shubhakara shashi makuTadhara jaya vijaya tripurahara shrtajana lOladbhuta guNa shIlA krtanutapAlA patituni lOlA- mudambala ranga padAbjamulanu padambujErcu pashupatini gnyaanamudhyaanamu snaanamupaanamu daanamumaanamu abhimaanamanucu kanikaramunacaraNambulukanu konushrutulannutula sharaNanucu (saamba) Charanam 4: (khaNDa gati - 5 units per beat) sAresAregu nI nAma mantram kOrinAnu nI pAdAmbuja mantram dAsuDau cinni krSNuniki dikku nIvEyani shokkanAthuni nammukoni Meaning (From www.karnatik.com): Pray to Lord Shiva, who resides in the silver mountains, the snow-clad Himalayas. Pray, "You are my guru and God. I meditate on you at all times. I never forget that you are the treasure of compassion. Oh! MahadEva. You are handsome and grant boons to the dEvas. You have the moon on your crown. You love the devout. You are the embodiment of virtues and you destroy sinners. I will not abandon my religious practices but will forever seek refuge in you, oh Lord Chokkanaatha." Note (From Ravi Kiran's Book): Swarajatis are more sophisticated musical forms than geethams, both in terms of size and quality. They have been composed in the 3rd speed, and generally have a pallavi and a few Charanams. The charanams are generally rendered once as swaras and the second time as lyrics. Some swarajatis also have an anupallavi incorporated in them. Many swarajatis like the sublimely devotional ratna-trayam of Shyama Shastri are concert worthy.