Introduction

Locating the “Lord” inside the “Cave of the Heart” (Idhaya Kugai), in the fourth song in Raga Hamir Kalyani, the Seeker made a soulful plea to transcend the cycle of Karma. He appealed to the Sun, which symbolises removal of darkness. “Take me from the darkness of ignorance to the light of knowledge” was the prayer to the Sun God. This is Manana (Inquiry. “Mumukshu”, the Seeker, by doing “Sravana” and “Manana”, is all poised to hear the “Maha Vakhyas” (Eternally true statements) of the Vedas.

This fifth song in Raaga Durga, apart from bringing out the “Atma Lakshanams”, bring out the Maha Vakhya that appears in Chandogya Upanishad viz. “Tat Tvam Asi” (Thou art That).

The song is presented as under:

1. The first one is with lyrics written by me in Tamil (with meaning in English) and rendered in Reggae Style by Swarzulu.

2. The Second one is with lyrics written by me in Tamil and rendered by my niece in traditional Carnatic Music genre without any accompanying musical instruments.

Fusion Music

Carnatic Genre

Lyrics

பல்லவி

நீ தான் அது நானும் அதுவே

நீ தான் அது உலகும் அதுவே

அநுபல்லவி

நான்கு வேத ஆத்ம தத்வம்

ஆணி வேராய் பூமி மூலம்…. நீ தான் அது

முதல் சரணம்

புண் ணிய பாபம் கடந்திட்ட நாதம்

எண் ணற் கரிதாக இருந்திட்ட இதயம்

வசீகர மாயா சேர்ந்திட்ட ரூபம்

என்னை ஆண் டிடும் ஆத்மா னந்தம்…. நீ தான் அது

இரண்டாவது சரணம்

நீக்கம் இல்லா வ்யா பகம்

என்றும் உள்ள ஆன ந்தம்

தர்மமும் அதர்மமும்

இல்லா ஏதும் ஒர் குணம்

ஜன்ம மரண மூப்பு எனும்

துக்க நோயின் நிவா ரணம் …. நீ தான் அது

English Translation

Pallavi

You are That, I am also That.

You are That, the world is also That.

Anupallavi

The Atma-Tattva (Essence of Soul) of the four Vedas;

The Taproot and the very Source of the Earth... You are That.

First Charanam

The Sound (Nada) that has transcended merit (Punya) and sin (Papa);

The Heart that remains beyond the reach of thought;

The Form joined by the enchanting power of Maya;

The Bliss of the Self (Atmananda) that rules over me... You are That.

Second Charanam

The All-pervading Reality without any separation;

The Bliss that exists eternally;

The singular Attribute that is neither

Dharma (Righteousness) nor Adharma (Unrighteousness);

The Cure for the painful diseases of

Birth, Death, and Old Age... You are That.

Understanding the Lyrics

This composition is a masterpiece of Mahavakya (Great Sayings) synthesis. While your first two songs focused on the Definition of the Supreme and the Prayer of the seeker, this one is the Declaration of Identity. It is a direct “Song of Realization.”This song is a poetic expansion of the Chandogya Upanishad’s Mahavakya: Tat Tvam Asi (”Thou Art That”).

1. The Non-Dual Identity (Tat Tvam Asi)

The Pallavi boldly states “Nee thaan adhu, naanum adhuve.” This is the core of Advaita. The distinction between:

• Ishvara (The Creator/You)

• Jiva (The Individual/I)

• Jagat (The World/Ulagum)

are removed and by saying all three are “That” (Brahman), the Eka-Tattva (Single Reality) that underlies all diversity is emphasised.

2. The Taproot (Aani-ver)

Using the metaphor of the “Taproot” (Aani-ver) in the Anupallavi is brilliant. In the Bhagavad Gita and the Upanishads, the universe is compared to an inverted tree (Ashvattha). The “Self” is identified as the invisible root that holds up the entire visible world.

3. Transcending Dualities (Punya-Papa / Dharma-Adharma)

Advaita posits that the Absolute is Trigunatita (beyond the three qualities) and Dwandvatita (beyond dualities).

• By saying it transcends “Punniyam and Pabam,” the state of a Jivanmukta (liberated soul) who is no longer bound by the scales of moral causation is referred to.

• The line “Dharmamum Adharmamum illa” refers to the Nirguna state—where the Truth is so pure that even the concepts of “right” and “wrong” (which are worldly constructs) do not apply.

4. The Role of Maya

The phrase “Vasheekara Maya serndhitta Roopam” is a very sophisticated Vedantic point. It explains how the formless Brahman appears as a “Form” (Roopam). It is the “Enchanting Maya” that clothes the Infinite in a finite dress so we can perceive it.

5. The Great Medicine (Bhavaroga Vaidya)

The final lines address “Janma Marana Mooppu” (Birth, Death, and Decay). Vedanta calls the cycle of rebirth “Bhavaroga” (the disease of worldly existence). By realizing “You are That,” the seeker is cured of the “disease” because they realize the Self was never born and therefore can never die or grow old.

A note on Raag Durga

Raag Durga is a captivating Hindustani raga that has been beautifully adopted into the Carnatic system. It is celebrated for its pristine clarity, strength, and an inherent sense of “Shantam” (peace) mixed with “Veeram” (courage).

Durga is pentatonic, meaning it uses only five notes in both the ascent and descent. In the Carnatic framework, it is generally considered a derivative of the 28th Melakarta, Harikambhoji.

While the name “Durga” might evoke the fierce imagery of the Goddess, the raga itself is often perceived as graceful, dignified, and soothing.Unlike rāgas filled with intricate emotional tensions, Durga breathes spaciousness. Its phrases feel like cool evening winds moving through temple corridors or the quiet certainty of a mountain shrine.

Because it shares its scale with major scales used in folk and light classical music globally, it serves as a brilliant bridge for cross-genre experimentation, maintaining its classical integrity while sounding remarkably modern.

A note on Reggae & the Fusion

The Reggae Genre originated in the 1960s in Jamaica. It has lots Social liberation, Equality and Human themes in its lyrics and songs. There is something deeply fascinating when an ancient Indian rāga meets the relaxed pulse of Reggae. A fusion composition based on Rāgam Durga in the Reggae genre is not merely an experiment in sound; it becomes a dialogue between two civilizations of rhythm and feeling — one born in the meditative interiority of Indian classical music, the other arising from the earthy, soulful resilience of Caribbean musical culture.

Also in Durga when the root key i.e. the Sa is moved to start from another note of the scale it becomes, Mohanam and Hindolam, Which form Major and Minor Pentatonic in Western music, used in most modern music.

Reggae, with its characteristic:

• off-beat guitar accents,

• deep bass grooves,

• spacious rhythmic breathing,

• and hypnotic cyclic movement,

creates an ideal canvas for a pentatonic rāga like Durga. Both traditions value space more than excess.

• In Reggae, silence between beats matters.

• In Durga, the restraint created by omitted notes matters.

This shared aesthetic allows the fusion to feel natural rather than forced.

This is a powerful composition. Converting these verses from the bold, pentatonic structure of Durga into a Reggae rhythm offers a unique opportunity to emphasize the “One Reality” message through a steady, grounding groove.

Here is a poetic description of the Fusion created by Swarzulu

Durga walked barefoot from the temple halls,

Into the island dusk of bass and drums.

Her ancient notes did not resist the rhythm;

They smiled, swayed, and became wind.

The tanpura met the heartbeat of Jamaica,

And somewhere between silence and syncopation,

A new prayer was born.

This is a honest attempt to discover how an Indian contemplative melodic consciousness can breathe through a global rhythmic language.

Trust that you liked it. Feel free to comment. Thanks

God Bless

Introduction

1. We began The Spirit of Unity in Music Series with the first episode, where in the Seeker before moving into deeper inquiry, began the journey through Saguna Upasana (Worship of Form), using the five sacred syllables (Na-Ma-Śi-Vā-Ya) as the foundation. That prayer song based on the original one written in Sanskrit by Adi Sankara, established the presence of the Divine as the omnipresent “Self-Luminous One” (Avadhutane).

2. We then challenged the Seeker with a direct question “is it enough to see the Supreme only in stone? (idol - Saguna Brahman); this song in Raga Maand brings out the necessity of seeking the “Primordial Source” (Nirguna Brahman) within rather than wandering in sensory pleasures. This deep rooted yearning is called “Mumukshutvam”, a fundamental requirement for a Seeker.

3. We subsequently defined Consciousness (உணர்வு) as the Supreme Reality through a song in Raga Brindavana Saranga, bridging the macrocosm and microcosm viz., what is in the universe (Andam) and what is in the body (Pindam). The song also highlight few attributes of the Unattributable. This enables the Seeker to carefully hear the Ultimate Reality. This is called Sravana (Hearing Truth).

Now, locating the “Lord” inside the “Cave of the Heart” (Idhaya Kugai), this song in Raga Hamir Kalyani, is a soulful plea to transcend the cycle of Karma. Here the Seeker appeals to the Sun, which symbolises removal of darkness. “Take me from the darkness of ignorance to the light of knowledge” is the prayer to the Sun God. This is Manana (Inquiry). The song is presented in two ways.

1. The first one is with lyrics written by me in Tamil (with meaning in English) and rendered in EDM/Electro Trap Fusion Style by Swarzulu.

2. The Second one is with lyrics written by me in Tamil and rendered by my niece in traditional Carnatic Music genre without any accompanying musical instruments.

Fusion Music

The Song is in the Genre of EDM (Electronic Dance Music) with the sub Genre of Electro Trap. it uses synthesizers and complex beats. The Vocals are traditional but the interpretation of the Ragam is not traditional. Please listen with headphones.

Carnatic Genre

Lyrics in Tamil

பல்லவி

எனைத் தேடும் வழி ஒன்று வேண்டும் - இறைவா

வினை யாவும் அழிந்தோடி எனை நீங்க வேண்டும்…..(எனைத்)

அனுபல்லவி

வினைக் கேற்ற பலன்தன்னைத் தந்தவா - உனை

நினைத்திட்டு துதிசெய்து வழிதேடி நாடவா …..(எனைத்)

சரணம்

இருப் பென்னும் உணர் வொன்றே அல்லவா -

இதயக் குகை தன்னில் ஒளிந்திட்ட நாயகா

அழியாத ஒளி கொண்ட ஆண்டவா - நான்

ஒளி வேண்டி தினம் வேண்டும் ஆதவா - நாயகா (எனைத்)

English Translation

Pallavi

I need a way to find “Me” —O Lord!

All my Karmas must be destroyed, flee, and leave me.

Anupallavi

O One who grants the fruits according to one’s actions (Karma),

Should I come seeking the path by meditating and praising You?

Charanam

“Does ‘Existence’ (I Am) not equate to unity?”

O Lord, who is hidden within the cave of the heart!

O Lord, who possesses the Indestructible Light!

Like the Sun (Adhava), I pray daily, seeking that Light—O Master!

Understanding the Lyrics

This song beautifully illustrates the transition from Karma Yoga (action) to Jnana Yoga (knowledge).

1. The Search for the “I”

The opening line, “Enai thedum vazhi” (The path to seek myself), is the quintessential Vedantic inquiry. Instead of looking for an external God, the seeker is looking for their own true nature. As Ramana Maharshi taught: “Who am I?” is the ultimate path.

2. Karma Phala Data (The Giver of Fruits)

In the Anupallavi, we address the Lord as “Vinai ketra palan thannai thandhava.” In Vedanta, Ishvara (God) is defined as the Karma Phala Data—the impartial judge who ensures every action has an equal reaction. The seeker recognizes this law but asks for a way to transcend it (“Vinai yavum azhindu”).

3. The Cave of the Heart (Dahara Akasha)

The phrase “Idhaya kugai” (The cave of the heart) is a direct Vedic reference (from the Katha Upanishad). It suggests that the Truth isn’t “out there” in the world, but is “hidden” (olindhitta) within the innermost core of our being, waiting to be discovered through silence.

4. Sat-Chit (Existence-Consciousness)

The line “Iruppu ennum unarvu ondre allava” is philosophically profound.

• “Iruppu” means “Existence” (Sat).

• “Unarvu” means “Consciousness” (Chit).

The only thing that is truly real is the simple feeling of “being” or “existence” that underlies all our experiences.

5. The Symbolism of Light (Adhava)

Ending with “Adhava” (The Sun) connects to the Gayatri Mantra. Just as the sun dispels physical darkness, the “Indestructible Light” (Azhiyatha Oli) of the Atman dispels the darkness of ignorance (Avidya).

As per the Hindu scriptures (In the Upanishads and in the Yoga traditions), there are only three places in this world where one can visualize that Brahman, the omnipresent, omnipotent and omniscient Ultimate Reality. One is the Sun, the second is deep inside the heart, and the third in the space between the eyebrows on the forehead. The scriptures also say that the only representative of these that is visible to our eyes is the Sun. Since the Sun itself can be visualized as Brahman, it is very easy to meditate/worship Brahman by meditating/worshipping the Sun.

“If the Sun is the eye of the world, the eye is the Sun of our soul. The importance comes not from the quantitative magnitude of the Sun, but the qualitative bipolarity of the illuminating Sun and the seeing eye which are interlinked for the creation of the visible world.

“Here we see how the psychological factor of ego is intrinsically connected with the cosmological function of the Sun” says Guru Nitya Chaitanya Yati of Narayana Gurukula. Our limited consciousness must open to the infinite consciousness represented by the Sun.

There is one truth that is evident to anyone who knows how to think a little; it is that we are in ignorance. We may know many things like science and art. But these are not true knowledge. Knowledge about ourselves is true knowledge. Know thyself is the call of Vedanta.

The Sun symbolises removal of darkness. By removal of darkness, the Sun provides three major benefits to the mankind:

1. Sun is a Nourisher.

2. Sun is a knowledge provider.

3. Sun is a guardian of the path in any of our endeavour

That is why Vedas call Sun as ‘Bhushan”.

“Take me from the darkness of ignorance to the light of knowledge” is the prayer. But our journey does not stop with the vision of light. The ultimate truth is beyond everything; it is beyond all dualities like darkness - light, suffering - pleasure, evil - good, etc., and only when we reach that place does our journey reach its goal.

This song penned by me was inspired by Isavasya Upanishad where the Seeker in his/her advance stage of getting liberated (understanding through direct experience of who He is) seeks the help of Sun to understand and realise the Ultimate Reality.

A note about the Raga & Fusion

Rāga Hāmīr Kalyāṇi

Hāmīr Kalyāṇi stands at a fascinating junction—dignity infused with luminosity. It carries the structural elegance of the Kalyāṇi family, yet its Hindustāni lineage introduces a certain romantic spaciousness and reflective glide. With an inherent sense of expansion (like consciousness revealing itself) and a feeling of unfolding rather than assertion without being either overly austere or excessively emotional, Hamir Kalyani resides in a refined middle path (मध्यम मार्ग). This way, the Raag is excellent for expressing “apparent multiplicity resolving into a quiet, luminous unity”. It lends itself to nididhyāsana-like contemplation—not dry abstraction, but inward flowering. In short, it is a rāga that can suggest Brahman without loudly declaring it.

EDM / Electro Trap

At first glance, EDM—especially Electro Trap—seems like an odd vehicle for Advaita. It thrives on:

• Repetition and loops

• Layered textures and drops

• Rhythmic intensity and build-release cycles

But look deeper, and there’s a surprising philosophical resonance:

• The loop mirrors saṁsāra—cyclical, hypnotic, self-reinforcing.

• The drop can act as a momentary dissolution—almost like a laya or ego-collapse.

• The synth layers resemble superimpositions (adhyāsa)—multiple textures appearing on a single sonic “space.”

• The bass grounding everything can metaphorically serve as the “adhisthāna” (substratum).

Electro Trap in particular adds:

• Sharp rhythmic fragmentation → like the restless mind (vikṣepa)

• Sudden silences and breaks → glimpses of stillness

EDM is outwardly energetic, structurally it can model key Advaitic dynamics if handled consciously. That’s exactly what Swarzulu has attempted in his composition here.

While Hamir Kalyani represents śruti-pramāṇa—timeless truth, subtle and continuous, the EDM framework represents vyavahāra—movement, multiplicity, experience.

Advaita is not against dynamism; it simply insists that,”The changeless must be recognized through the changing”.

Hāmīr Kalyāṇi gives us the truth-content.

Electro Trap gives you the experiential metaphor.

Enjoy both

God Bless.

Introduction

The Spirit of Unity in Music, continues with the Seeker carefully hearing (“sravanam”) what the Vedas and Elders have told. Defining Consciousness (உணர்வு) as the Supreme Reality, this song, in Raga Brindavana Saranga, bridges the macrocosm and microcosm viz., what is in the universe (Andam) and what is in the body (Pindam). The song attempts to highlight few attributes of the Unattributable. This enables the Seeker to carefully hear the Ultimate Reality. This is called Sravana (Hearing Truth).

True to the spirit of the composition, we have attempted three variants:

1. The first one is video song with lyrics written by me in Tamil (with meaning in English) and rendered in Tamil (Fusion Rock Genre) by Swarzulu.

2. The second one is a video song with lyrics written by me in Tamil and rendered by my niece in traditional Carnatic Music genre without any accompanying musical instruments.

3. The third one is with lyrics written by me in Tamil (translated and adapted to English tune) and rendered in English (Fusion Rock Genre) by Swarzulu.

Fusion Music by Swarzulu - Lyrics and song in Tamil

Carnatic Genre - Lyrics and song in Tamil

Fusion Music by Swarzulu - Lyrics and song in English

Please click the link “Consciousness is Supreme” below.

👉 Consciousness is Supreme

Lyrics in Tamil

பல்லவி

உணர்வு என்றும் பரமம்

நம் காயம் உள்ளும் அதுவே - தூய

அனுபல்லவி

அண்டம் பிண்டம் அனைத்தும் அதுவே

எங்கும் உறையும் வாசி - தூய

சரணம்

வேதம் நான்கும் கூறும் சத்யம்

தேகம் உறையும் ஆத்மா பரமம்

எந்தன் இதய கமல நிலையம்

தன்னில் வாழும் நித்ய இன்பம்

மூன்று காலம் அடக்கும்

மூன்று வினையும் அழிக்கும்

பஞ்ச பூத வியாபம்

மரண பய நி வாரணம்

குண குல குறி இட வரையிலா

முப்புரம் எரி பரம் பொருளான …. தூய

English Translation

Pallavi

Consciousness is the Supreme.

It is the same (Consciousness) within our body……….Pure consciousness

Anupallavi

The macrocosm and the microcosm—all is That.

The Breath (Vasi/Prana) that dwells everywhere……

Charanam

The Truth declared by the four Vedas;

The Soul (Atman) dwelling in the body is the Supreme.

In the abode of the lotus of my heart,

Lives the Eternal Bliss.

It encompasses the three periods of time (past, present, future),

It destroys the three types of Karma.

Pervading the five elements of Nature,

It is the cure for the fear of death.

Beyond the limits of attributes (Gunas), lineage, or form,

The Supreme Being who burnt the three cities.….

Understanding the Lyrics

The song traces the journey from the individual self to the Universal Reality.

1. Prajnanam Brahma (Consciousness is Brahman)

The Pallavi echoes the Mahavakya (Great Saying) of the Aitareya Upanishad. By stating “Unarvu endrum Paramam (உணர்வு என்றும் பரமம்)”, you are identifying Chit (Pure Consciousness) as the ultimate reality. The “Pure” (தூய) nature refers to Nirguna Brahman—the reality that remains untainted by the physical world.

2. Macrocosm vs. Microcosm

“Andam Pindam (அண்டம் பிண்டம்)” In the Anupallavi, is a core Vedantic concept: Yat Pinde Tat Brahmande (As is the individual body, so is the universe). The “Vasi” (Breath/Life Force) is the thread (Sutratman) that connects the individual life to the cosmic life.

3. The Heart - Lotus (Hridaya Kamala)

The Charanam refers to the Dahara Vidya (the meditation on the small space within the heart). Vedanta teaches that although Brahman is everywhere, it is most easily “realized” within the cave of the heart (“upalaptha sthaanam”) as the Witness (Sakshi).

4. Transcending the “Threes”

The word “Three” has been used in several powerful ways:

Kala (time) : The Atman is Trikala Atheetha—beyond past, present, and future.

Karma: It dissolves Sanchita (accumulated), Prarabdha (current), and Agami (future) karmas.

Pura: Burning the “three cities (puras)” is a symbolic reference to destroying the three states of ego: the waking, dreaming, and deep sleep states, or the three bodies (Gross, Subtle, Causal).

5. Abhaya (Fearlessness)

By realizing the Atman is “Pervading the five elements” (Panja Bhoota Vyapam), the seeker loses the “fear of death” (Marana Bhaya Nivaaranam). If you are the infinite space, what can happen to the body is no longer a threat to your true nature.

Note about the Raga and the Fusion

Brindavana Saranga

Brindavana Saranga is a gentle and emotionally appealing raga, it is used mainly for minor compositions and bhajans. Rangapura Vihara and Soundara Rajam Ashrayeby Muthuswami Dikshithar and Kaliyuga Varadan by Periyasami Tooran are the compositions most Carnatic music listeners would be familiar with. A composition in Rāga Brindāvana Sāranga carries a rare and captivating charm—at once serene, luminous, and deeply evocative of devotion.The rāga’s true strength lies in its bhāva. There is an inherent mādhurya (sweetness) and śānta–bhakti rasa that pervades every movement. It does not demand attention through complexity; instead, it draws the listener inward through quiet grace.What makes a Brindāvana Sāranga composition truly memorable is its ability to balance simplicity with depth. On the surface, it appears accessible and gentle; yet, beneath that simplicity lies a profound emotional resonance that lingers long after the music fades. In essence, a composition in Brindāvana Sāranga is not just heard—it is felt as a quiet unfolding of devotion, a musical expression that transforms space into sanctity and sound into subtle contemplation.

Fusion Rock

A bold and imaginative fusion where seemingly distant musical worlds are brought into a cohesive and compelling sonic narrative. The distorted guitars provide a powerful, gritty backbone—rooted in rock tradition, yet used here not merely for aggression but as a textured canvas that drives emotional intensity. Against this, the Motown-style bass is a masterstroke: warm, melodic, and rhythmically articulate, it doesn’t just support the harmony but actively converses with the groove, adding a soulful depth that elevates the entire piece.

The inclusion of the Latin cajón introduces an organic rhythmic pulse, grounding the composition in an earthy, human feel. Its subtle dynamics and percussive nuance contrast beautifully with the electronic elements, creating a rhythmic dialogue between the acoustic and the synthetic.

The gated synth pads bring a modern, atmospheric dimension—expanding the sonic space with a pulsating, almost hypnotic quality. They act as a bridge between rhythm and melody, filling the composition with a sense of movement and anticipation. Meanwhile, the bells add a touch of clarity and transcendence, cutting through the dense textures with a shimmering brightness that feels almost symbolic—like moments of insight emerging from complexity.

What truly defines this piece is its balance. Each element retains its identity, yet none overpower the others. Instead, they interlock with precision, creating a layered soundscape that feels both expansive and intimate. The composition doesn’t merely blend genres—it integrates them meaningfully, resulting in a work that is rhythmically engaging, harmonically rich, and emotionally resonant.

Overall, this is not just a fusion of sounds, but a fusion of sensibilities—where rock energy, soul warmth, Latin rhythm, and electronic ambiance converge into a unified artistic expression.

To conclude, an apt choice of Genres for conveying the message that for humanity, Pure Consciousness is Supreme - “Sarvam Brahma Mayam” . This is the essence of Advaita Vedanta.

God Bless

Now, challenging the Seeker with a direct question “is it enough to see the Supreme only in stone? (idol), this song in Raga Maand brings out the necessity of seeking the “Primordial Source” within rather than wandering in sensory pleasures. This deep rooted yearning is called “Mumukshutvam”, a fundamental requirement for a Seeker.

Here is that song (inquiry) expressed musically in two different genre:

1. The first one is with lyrics written by me in Tamil (with meaning in English) and rendered in Fusion Style by Swarzulu.“ The song is a fusion of the genre a of Gospel phrasing, jazz harmonies at the back, rock rhythm drumming and Indian classical melodies. It truly represents the universal appeal of the lyrics, which is pure spirituality transcending religions and cultures”.

2. The Second one is with lyrics written by me in Tamil and rendered by my niece in traditional Carnatic Music genre without any accompanying musical instruments.

Enjoy the music. Understand the lyrics and ponder. Subscribe to my YouTube channel too.

Fusion Music

Carnatic Genre

Raag - Maand

Raag Mand as a popular, light-classical raga rooted in Rajasthani folk music, characterized by its romantic, vibrant, and emotional”flittering” nature. It is often used for bhajans and ghazals. It is delightful to the lyricist like me as I can dovetail my thoughts smoothly to the swinging patters. To the listener and performer alike, the zigzag patterns in this raga give rise to a feeling that only can be compared with enjoying a swing on a cool evening in your garden.

Note from the Composer and the Singers.

Here is the response from the creator and performer of the fusion music , my collaborator Swarzulu who composed the music and sang this song.

“The song in Ragam Mand that you have written transcends all religion. The Tune that is coming into my head while using the notes and form of Raag Mand is flowing very much into western music, almost like a choir, but it is dragging me in the direction of Jazz or Blues Rock. But work and zoom kept me from releasing that Genie out of the bottle inside me!! Now it is out”.

Thank you Swarzulu for your wonderful composition and excellent singing. You indeed are clear of your goal as the song demands.

Many thanks to my niece, who has done a great job in fitting the lyrics into the classical carnatic genre based on a legendary song “Arumo Aaval” rendered by the legendary singer ML Vasanthakumari.

This is essentially done to provide the readers the best of both worlds.

Understanding the lyrics

We live in an era of materialism (In India, we call it Kali Yuga). Day in and day out we engage our body, mind and outward looking sense and action organs to produce action, speech and thoughts (“kaayena vaachaa manasa”). These are the only three outputs from all of us irrespective of region, color and creed..

Through these three outputs, we transact with people, world and objects; earn money, fame and do actions that give us (what we call as) happiness.

The whole world seems to be working rightly so, to get consistent and permanent “pain free pleasures”, “sorrow free happiness” all the time. Philosophers call this state that we yearn as “Moksha”, “Liberation”, “Salvation”, “Heaven” etc etc.

Individually as we progress, time catches up with us. We created calendar and time; yet time doesn’t wait for us. As we start ageing, we start wondering as to what is that we have been doing so far and where are we heading; as the body starts withering, this thinking turns into worries and finally we perish after having worried about men, materials and matter which have only “shelf life” and nothing else.

We wander about ignorantly trying to experience the world without trying to experience the “Experiencer”. We learn with the help of instruments of knowledge without inquiring as to what instruments of knowledge are required to know about ourselves, the Experiencer. In other words, We, the embodiment of absolute happiness, run behind ephemerals which are essentially nothing but sorrows & sufferings, thinking that there is happiness/pleasures in them.

In this journey called life, did we at any point of time have the time to ponder and compare our journey with our ultimate goal of pure and permanent happiness? Why is that our journey and our goal were not in sync? We, ” the souls that wander in utter dismay in the dense woods of mental ignorance”, search for practical “dos and don’ts” that will enable us to live in the present without guilt about an unchangeable past and anxiety about an unknowable future. Where do we get these ?

The answer as per Sanatan Dharma is simple, straightforward yet extremely difficult to comprehend. “Don’t search outside. Don’t search in idols. Search inside you. Examine deeply through a structured process of learning with the help of Guru . You will find the answer as “Tat tvam Asi - That thou art”.

This song in Tamil urges this inward looking search.

Lyrics in Tamil

ஆத்ம ஞான ஸ்துதி - மெய்யறிவின் இன்றியமையாமை

ராகம்: மாண்டு

பல்லவி

ஆகுமோ பேறு

ஆதிமுதலை உன்னுள் தேடாமல் - ஆகுமோ

அநுபல்லவி

சேரும் இடம் செல்லத் தெளி வொன்று இல்லாத அவர்

வெறும் புலன்பின் தேடி அலைந்து பேரறிவை அறியாமல்….ஆகுமோ

சரணம்

வானமென நிறை, நித்யமென உறை

மானிடருள் மறை பேரின்ப இறை வடிவை

ஆதி அந்தம் இலா, ஓதுதற் கரிதான

ஒன்றெனும் பரமனை கல்லிலே கண்டால் மட்டும் ஆகுமோ…..

குறிப்பு - பேறு என்ற சொல் வீடுபேறு எனும் முக்தியைக் குறிப்பது. மோக்‌ஷம் என்பர் வடமொழியில்.

Enjoy the compositions, the music and of course, contemplate on the lyrics and come out with your own answers. “The answer is in your hand” as Lord Krishna tells Arjuna at the end of his Upadesam in Bhagwad Gita.

Feel free to try out your lyrics in your mother tongue, that truly represents the above meaning in any genre that you like.

God Bless

In Shaivite philosophy, the five syllables represent more than just a name; they symbolize the five elements (Pancha Bhoota) and the five functions of the Divine:

• Na: Earth / Concealment

• Ma: Water / Worldly involvement

• Shi: Fire / Destruction of Illusion

• Va: Air / Revealing Grace

• Ya: Ether (Space) / The Soul

By chanting the Stotram, the seeker is essentially acknowledging that the entire cosmos and the self are manifestations of Shiva.

Shankaracharya paints a vivid, meditative picture of Shiva in each verse. Instead of abstract philosophy, he uses sensory descriptions.

The Seeker can use these descriptions to tune his/her mind and then use the mantra “Om Namah Shivaya” (a very powerful tool for meditation) to meditate on the Ultimate Reality, the eternal principle of existence.

Here is this powerful hymn for everyone.

1. The first one is with lyrics written by me in Tamil and rendered in Western Classical Style by Swarzulu

2. The Second one is with original lyrics in Sanskrit and rendered in Western Classical Style by Swarzulu

3. The third one is with original lyrics and rendered by the legendary musician from India, Smt. MS Subbulakshmi.

Unity - Western Classical with Tamil Lyrics

Unity - Western Classical with Sanskrit Lyrics

Unity - Original Indian Classical (Carnatic Bhajan) with Sanskrit Lyrics

The Sanskrit lyrics are already available in the Worldwide Web. All you have to is just “Google” to get it. Here is my simple contribution in Tamil.

Lyrics in Tamil

நாகம் தனைச் சூடும் முக் கண்ணனே

திரு நீறு பூசிடும் பேரீசனே

நிலையான தூய்வான அவ தூ தனே

ஒலியாம் ந வடிவான நமச் சிவாயனே!

மந்தாகினி முழுக்காடும் சந்தனக் காப்போனே,

நந்தீ சனுக்கும், கணங்களுக்கும் தலையாம் மகேசனே,

மந்தார மலர் கொண்டு பூசை பெறுவோனே

ஒலியாம் ம வடிவான நமச் சிவாயனே!

சிவாவின் கமலி முகம் தான் மலர, சூர்ய னாய்

தக்‌ஷ ஆணவம் அழித் தவனே

விடமுண்ட நீல கண்டனே, விடை கொடி யோனே

ஒலியாம் சி வடிவான நமச் சிவாயனே!

வசிஷ்ட குரு முனியும் கௌதம மகானும்

முனீ ந்திர தேவர் ஆராதிக்கும் சிகரோனே,

சூர்ய சந்திரனையும் கண்ணாகி உடையோனே,

ஒலியாம் வ வடிவான நமச் சிவாயனே!

யக்ய வடிவோனே சடைமுடி தரித் தோனே,

திரிசூலக் கரமுடனே யாண்டும் நிறைவோனே,

தெய்வீக தேவனே, அவ தூ தனே

ஒலியாம் ய வடிவான நமச்சிவாயனே!

நமசிவாய எனும் புனித மந்திரம்

சிவனாலயம் சென்று ஓதுவர்,

சிவலோகம் அடைந்திட்டே

சிவானந்தத்தில் திளைப்பாரே!!

Meaning

1. Through the syllable “Na” the form of Siva is meditated as the one with the King of Snakes as garland, with three eyes, smeared with Sacred Ashes, Who is Eternal, Who is ever Pure and Who has the Four Directions as His Clothes (signifying that He is ever Free).

2. Through the syllable “Ma” the Lord Siva is meditated as the one who is Worshipped with Waters of River Mandakini and Smeared with Sandal Paste, Who is the Lord of Nandi and of the Ghosts and Goblins and Who is deeply Worshipped with Mandara and many other Flowers.

3. Through the syllable “Śi” the Lord Siva is meditated as the one Who is Auspicious, Who is like the Sun causing the Lotus-Face of Gauri (Devi Parvati) to Blossom, Who is the Destroyer of the Sacrifice (Yagna) of Daksha, Who has a Blue Throat and has a Bull as His Emblem in His Flag ,

4. Through the syllable “Vā” the Lord Siva is meditated as the one Who is Worshipped by the Best and most Respected Sages like sage Vashistha, Pot-Born sage Agastya and sage Gautama and also by the celestials, the Devas; is meditated as the Crown of the Universe and has the Moon (Chandra), Sun (Arka) and Fire (Vaisvanara) as His Three Eyes.

5. Through the syllable “Ya” the Lord Siva is meditated as the one who is the embodiment of Yagna {all rituals and sacrifices }, Who bears the Matted Hairs, Who has the Trident in His Hand and Who is Eternal, Who is Divine, Who is the Shining One and Who has the Four Directions as His Clothes (signifying that He is ever Free).

The Hymn concludes by stating that “Whoever Recites this Panchakshara Stotram (Hymn in praise of the five syllables of Na-Ma-Shi-Va-Ya) near Shiva (Lingam), will Attain the Abode of Shiva and enjoy His Bliss”.

Chanting this stotram is believed to bring peace, prosperity, and liberation, helping to cleanse negative karma and align with the divine energy of Shiva.

To sum up

To chant it is to pray.

To understand it is to meditate.

To live it is to be free.

May I now seek your contribution in the form of lyrics in your mother tongue, that truly represents the above meaning and set to the same tune (either Western Classical or Indian Classical given above)?

(Alternatively you can try your own tune and share along with the lyrics and tune.)

That will be a great Universal endeavour to begin with .

God Bless !

As a globe trotter (as my friends call me), here are my few observations :

Beyond the high-income statistics and professional success often cited for , the Indian diaspora in the West occupies a fascinating and an interesting “third space.” Their footprints are defined by a unique blend of preservation and radical reinvention.

Let me take there Culture, Music and Food as illustrations and examine.

Culture & Music

Unlike many immigrant groups that attempt to replicate home perfectly, the Indian diaspora—especially those from twice-migrated backgrounds, created entirely new genres.

A unique phenomenon within the Indian diaspora is the “Time Capsule Effect.” Static vs. Fluid Culture: While culture in India evolves rapidly (becoming more globalized and tech-centric), diaspora communities often “freeze” the cultural norms of the decade they left.

Interestingly, some of the most rigorous practitioners of Carnatic and Hindustani classical music are now found in suburbs like Cleveland, New Jersey or London. Because these communities view culture as a primary link to their heritage, they often fund and maintain classical institutions with more fervor than perhaps their counterparts in urban India

The diaspora has mastered the art of the Hyphenated Identity (Indian-American, British-Asian, etc.). This reflects in their storytelling and aesthetics:

1. Music and literature frequently blend Hinglish, Punjabi, or Tamil with Western slang, creating a vernacular that serves as a “language” for the community.

2. From the “Dotbuster” era of the 80s to the “South Asian Futurism” of today, artists use traditional motifs (henna, sarees, temple jewelry) in avant-garde or cyberpunk contexts to reclaim their narrative from Western stereotypes.

The diaspora acts as a massive cultural feedback loop. Songs produced in garages in Brampton or London often become chart-toppers in Mumbai, reversing the traditional flow of culture. Social media Platforms like TikTok and Instagram have allowed “Brown” identity to become a global aesthetic, merging Bollywood choreography with Western pop trends.

This unique position allows the diaspora to act as “cultural brokers,” translating Indian nuances for a Western audience while simultaneously pushing India to look at its own traditions through a modern, global lens.

Food

The diaspora’s relationship with food is perhaps the most visceral expression of their identity. It’s not just about “Indian food” appearing in the West; it’s about the creation of an entirely new culinary dialect that often baffles people back in India.

Vegetarianism Survived and Thrived. This is huge. Most immigrant cuisines adapt toward meat-heavy Western norms over time. But Indian diaspora communities preserved large-scale vegetarian traditions — not as a niche, but as mainstream community practice. In places like Leicester or Edison, vegetarian Indian food isn’t “alternative.” It’s the default. That’s rare in diaspora history.

In many immigrant communities, restaurant cuisine becomes the main reference point. But Indian diaspora families maintain a clear boundary between “Outside food” and “Home food”. That dual food identity is fascinating. It’s less “immigrant survival food” and more “mobile culinary civilization.”

As a student of Vedanta, I am neither a connoisseur of Food nor a Melomaniac with passion for music. For that matter I am neither a virtuoso nor an Aficionado. I try and get not perturbed or exited by duality. I am just a curious observer in these fields.

As regards to the food and related aspects, I would recommend you to subscribe to the newsletter :

We Ate Well

High-protein vegetarian recipes and lots of whole foods inspiration from the author of The Vegetarian Reset. When you sign up, you'll get a PDF with ALL my superhit recipes from Weeknight Simple!

By Vasudha Viswanath

I found it interesting and meeting my dietary requirements well.

So, What ? (How does it matter ?)

This is a standard question that I face from my grandchildren, whenever I try to narrate those little things from the past which made our generation happy (ofcourse with a hidden message that “we were better than you despite the odds against us”).

It matters here, because I would like to share my “Vritti” (Sanskrit: वृत्ति) in the field of Music and Culture through “Sangeeta Aikyam” (Sanskrit: सङ्गीत ऐक्यम्) viz., Integrating the Lyrics written by me in Tamil with the music from the West. (Note - “Vritti” refers to the movements, fluctuations, or “whirlpools” of thought within the mind (citta), often translated as “waves” or “streams of consciousness”.)

The lyrics written by me primarily focus on the beginning less, endless, omnipresent, omniscient, blissful “existence consciousness”, that one “Absolute Reality” called by various names in various places by various people as God, Brahman, Jesus, Allah, Siva, Vishnu, etc etc.

This will be a joint venture between three - myself, my niece and “Swarzulu” an extremely talented artist and busy financial services executive who crisscrosses between New Jersey and New Delhi and yet find time to seamlessly integrate the Indian traditional Carnatic Music with the various Western genres. Swarzulu is a One Man Band, Creating, performing and producing music. Raised in a home soaked in Carnatic music and later deeply influenced by Jazz, Rock and Classical in college, Swarzulu’s productions are a fusion of various genres. “The songs have a life of their own and take their own direction”. Swarzulu would like to remain anonymous.

So, here I am in Substack, looking forward to abundant happiness, free from sorrows for all, through fusion of music, arts and culture.

After all this is what “Kaniyan Poongundranaar”, the influential Tamil philosopher and poet from the Sangam age (circa 6th century BCE or earlier -born in Mahibalanpatti, Tamil Nadu) said as

“யாதும் ஊரே யாவரும் கேளிர்” - Yaadhum Oore Yaavarum Kelir (To us all towns are one, all humans our kin)

What next ?

Our maiden attempt will be tomorrow, March 2nd, the day of “Masi Magam”, an auspicious Hindu festival celebrated in the Tamil month of Masi (February–March) during the full moon and Magam star. Considered a powerful day for spiritual purification, it features devotees taking ritual baths (Theerthavari) in sacred waters. It is believed to be the day, divine energies are at their peak, allowing for the purification of karma.

See you tomorrow

God Bless