A composer by profession, singing bowl practitioner for almost 12 years and a nada mystic by true nature. Born to a middle-class Nepalese Brahmin family, I grew up with the teaching of the Vedas and their pluralistic approach that prioritizes experiences rather than beliefs.
Music has always been a very integral part of my life, and I could never part from my guitar and flute in my younger years. After graduating from college, I thought of pursuing a career in music and thus started working as a recordist and composer in Kathmandu. This is where I met some documentary directors who wanted me to incorporate some musical ideas with singing bowls, tingsha, dhyangro (Himalayan shamanic hand drum) and Tibetian horns. The sound and deep vibrations from the singing bowls impacted me so greatly that I wanted to know much more about them, in order to gain a deep knowledge.
So, I started to learn more about the origins, different healing traditions and cultural rituals of singing bowls. I was especially attracted to the healing, and I thought of getting healing sessions. Although I tried some contemporary methods as well, I felt a more profound connection with the traditional ones. Moreover, I was inspired to not only be healed myself, but also to study how to heal others and thereby preserve what our ancestors already did a long time ago. I found out that healing is truly a wonderful science.
Using singing bowls in healing is becoming increasingly popular, and many people – especially from the West – have created their own ways of healing. However, I feel we have a responsibility towards our ancestors to act to keep the traditional methods alive and part of today’s healing practices. If we don’t do that, we run the risk of losing them, and with that our sense of being.
Thousand years before Edgar quoted, “The medicine of future will be music and sound.” our Vedas gave us that wisdom as they were talking about “Nada Brahma-Sound being the ultimate reality.” In the end, we are nothing but the entities of vibrations.