Vajra dance – a Moving Meditation

Entering into the sound and movement of Vajra Dance, we experience joy and relaxation in our body, mind and energy.

NEW!!! for 2022

A foundation course in Vajra Dance with Cindy Faulkner, authorised instructor.
A 7 week course at West Wickham Village Hall, South Cambridgeshire, beginning on Monday 10th January 2022 4-6pm.
The first session is an introduction and is free.
If you decide to continue, the course costs £72 or £60 low income.
To book contact : cindy@lintonhealth.co.uk
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Vajra  Dance

Where did it come from?

Chögyal Namkhai Norbu(1938-2018), was a renowned scholar and widely acknowledged to be one of the greatest living masters of Dzogchen, the essence of Tibetan Buddhism. He first introduced this Vajra Dance to his students in 1990. It is mainly practiced in various places and centers of the Dzogchen Community all around the world.

What does it mean?

Vajra is a Sanskrit term that could be translated as “indestructible condition” with its symbolic images like a thunderbolt or diamond. In the Dzogchen teaching the indestructible condition or Vajra means our real nature, the real condition of all phenomena, which is nondual and beyond judgment and intellectual conceptual thinking.

What is it for?

Sound and movement are very important because they are the means to integrate the three aspects of body, energy, and mind into knowledge of the state of contemplation.

“Sound is the basis from which energy develops. Sound develops through light and color to a more physical level and then we have movement.” (Quote from oral teachings of Chögyal Namkhai Norbu )

The Dance of the Vajra is principally a practice to harmonise the energy of the individual.

 How are they practised?

The Vajra dances, as transmitted by Chögyal Namkhai Norbu are practiced on a Mandala according to precise instructions for the steps and movements.

Twelve practitioners, six females and six males, dance together on a large geometric diagram, the Mandala, representing the correspondence and interdependence between the microcosm and macrocosm, between the internal dimension of the individual and the outer dimension of the world.

The slow, coordinated movements are precisely connected to a sacred sound and timing, and as we softly sing and practice awareness together they produce an experience of deep relaxation and consequently a calm state of mind.

In the Vajra Dance, sound and not intellectual meaning is the most important. Accompanied by music, we sing sacred syllables that resonate, harmonise, and purify our chakras and energy points in our body or the microcosm, which is interdependently connected to energy fields in our outer world, the macrocosm.

The main purpose …

In the Vajra  Dance, the main realisation is to discover the nature of mind, which is beyond all limits. This experience of discovery releases our tensions, allowing us to let go, give less importance to our emotions and attachments, and enter a state of profound relaxation often also described as bliss.

“But beyond the mind, beyond our thoughts, there is something we call the ‘nature of the mind,’ the mind’s true condition, which is beyond all limits. If it is beyond the mind, though, how can we approach an understanding of it? Let’s take the example of a mirror. When we look into a mirror we see in it the reflected images of any objects that are in front of it; we don’t see the nature of the mirror. But what do we mean by this ‘nature of the mirror’? We mean its capacity to reflect, definable as its clarity, its purity, and its limpidity, which are indispensable conditions for the manifestation of reflections. This ‘nature of the mirror’ is not something visible, and the only way we can conceive of it is through the images reflected in the mirror. In the same way, we only know and have concrete experience of that which is relative to our condition of body, voice, and mind. But this itself is the way to understand their true nature.” Excerpted from Chögyal Namkhai Norbu, Dzogchen: The Self-Perfected State (Ithaca: Snow Lion Publications, 1996), 32.

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Cindy Faulkner

began to train as a dancer 40 years ago. A year later, she began a 3 year degree in Drama where she continued her movement studies as well as training the voice and embodied imagination. She became a professional performer , dancer and teacher for 7 years.
She began practising sitting meditation in 1992 and went to live in France in a meditation centre for 5 years. Finding it difficult to sit still, she worked on creating exercises for synchronising breath and movement which would ease into the practice of sitting meditation, which she later shared with people.
In 1996, she encountered the practice of Vajra Dance and recognised this as an authentic and complete pathway for her.
She was authorised to teach the first level(2005) and second level (2011) of Vajra Dance by the Master, Chogyal Namkai Norbu.

Vajra dance and Mindfulness (an article by Prima Mai , International Vajra Dance instructor)

In human experience, dance and song begin where the usual limits of communication ends. Requiring no instruments other than our body and vocal cords, they are art, a luxury that brings richness, joy, and meaning. Like music itself, they are universal, unifying, expressive, and profound.

On a contemporary, mundane level, collectively engaging in joyful singing and dancing activity has obvious social benefits, beginning with a more open and peaceful society. Studies have shown that individuals who participate in a choir, dance classes, or dance therapy experience personal benefits as well. Singing and dancing can help resolve mental, energetic, and physical disorders of all kinds, generating awareness, trust, and confidence individually and in relation to the outside world. They lead to a more mindful, harmonious, and happier life.

Beyond the relative benefits of joy and togetherness, the aspiration of sacred, spiritual, and ritual dance, like all spiritual or religious methods, is to realise an altered altruistic state of the mind or higher consciousness, ultimately leading to a liberation from suffering.

Some seventy percent of the human body, as well as our planet, is made up of water, constantly shaped by natural forces and intentional choices, be it negative or positive. The entire universe, all of nature, is in continuous movement like a dance, and the same sacred geometry pervades both the microcosm and the macrocosm.

Cymatics, the study of sound made visible, has demonstrated in many experiments how sound creates and alters geometric patterns in material elements such as sand or water. And sound, vibration, and frequency are also the essence of sacred geometry and color.

In semi-scientific studies, Emoto Masaru developed a way to make visible the memory of water. Other recent scientific studies have demonstrated the potential of frequency altering the behavior of water.

In the scientific field of genetics, current research is exploring the potential of self-healing of the human genome, focusing on the notion that DNA is more significant than the brain for correcting malfunctions in our “bioenergy system.” Research shows that the mind exists in the dimension of electromagnetic fields rather than residing in an organ such as the brain. To access the source of electromagnetic malfunction in our bioenergy system, both special sounds and intention are employed. It is believed that each individual’s system follows its own electromagnetic rhythm, like a cellular symphony with emotions and thoughts having a significant impact on genes and well-being.

Sound is information and can change the state of consciousness nearly instantaneously. Sound, like when learning a new language, rewires neural networks and can change emotional and mental patterns. We all have experiences with the way vibrations change our feelings or actions when we engage in activity with music or movement.

Sound is energy and energy is movement. Energy can be altered through our voice and movement, which mirrors our relative condition, becoming a practice of mindfulness.

In sacred dance the physical movements become a symbolic means of transforming into a divine figure or expressing the divine potential in us, making it possible for our obscured states of consciousness to discover our real condition.

Sacred sounds, chants, or mantras connect and resonate with our energy channels and chakras, and the experience of our energy or voice in combination with physical movements unfolds as knowledge and contemplation.

Sacred dances are often practiced in secret or performed only on special occasions, and in ancient times, like all sacred arts, were also a means to initiate or awaken the observer or listener into higher states of consciousness. Sacred visual art, poetry, music, and dance are inseparably linked to profound knowledge introduced by a realised teacher, often transmitted over centuries without interruption from teacher to teacher, as still found today in Tibetan Buddhism.