Owing to its benefits on various cognitive aspects, one’s emotions and wellbeing, meditation has drawn interest from several researchers and common public alike. We have different meditation practices associated with many cultures and traditions across the globe. Current literature suggests significant changes in the neural activity among the different practices of meditation, as each of these practices contributes to distinct physiological and psychological effects. Although this is the case, we want to find out if there is an underlying commonality among (...) all these different practices. So, we ask the following questions related to different practices of meditation, the traditional goal of meditation and its significance - What is the central purpose of meditation? Do traditions define the final goal of all the practices of meditation? Are the purpose and goal of these practices different or is there a common goal to be attained through all these distinct practices? Embracing the traditional perspective, through this paper, we want to emphasize, although these techniques and practices may appear different on the periphery, eventually, they seem to subject one to the same experience at the end; a natural meditative state (discussed in various spiritual traditions as the goal of meditation). In view of future studies on different meditation practices and also those exploring this subjective state, we offer some interesting ideas based on the traditional insights on meditation. In this context, we would also like to make a few comments on the way contemporary researchers view different practices of meditation. (shrink)

Across cultures, in most parts of the world, one come across traditions that employ unique and unusual pedagogies as skilful means to powerfully craft and re-craft our lives and in realizing the self. Using creative meaning-making, individuals evoke wholesome ideas and then motivate their personal selves to perform to them. The Vajranŕtyam or Cham is one of the unique expressions that has been employed from immemorial times to holistically convey the phenomenon of the dance form as a skilful spiritual tool. (...) While the authors recognize that other cultures too engage in spiritual dances as skilful means, here they dwell in greater length on Cham dance or the Tibetan Lama dance, which is performed in the traditional Vajrayana or Tantric schools of Buddhism in India, Bhutan, Mongolia, Nepal, and Tibet. With the advent of various contemporary influences, there is an observable change in the attitude towards the traditional, impacting its pure form. Whether it is undesirable or acceptable is a matter of reflection in another place, yet there are some observations that authors choose to share in the last section of this paper. Also, arising from several yet similar cultural influences, the purists voice accusation of dilution and warn that the traditional Cham dance may be slowly dying and morphing into tourist-friendly theatrics that is pleasing to the eye. In this paper, the authors attempt to elucidate its historical and contemporary role and place, to instigate an inquiry that hopefully provides a robust narrative, rich in value, and with a substantive interpretation from which lessons could be culled or harvested. Authors look at Vajranŕtyam in a generic wisdom-method space cutting across religious and social-cultural spaces. They also seek possible alignments and connect with science, essentially to study, explore, propagate core beneficiaries of the Dharma dance in terms of a sacred mindful and meditative art form. (shrink)