10.1 Concept and Recitation of Pranava (Om) and Hymns

Concept and Recitation of Pranava (Om) and Hymns

In the Yoga Certification Board (YCB) Level 2 Yoga Wellness Instructor practical examination, every demonstration and teaching session begins and ends with the disciplined recitation of Pranava (Om) and classical Vedic or Upanishadic hymns. Examiners evaluate not only vocal clarity, pronunciation (Uchcharana), pitch stability (Swara), and posture, but also Viva Voce mastery of the scriptural source, word-by-word meaning, and neuro-autonomic rationale behind each invocation.

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1.1 Concept and Recitation of Pranava (Om)

Etymology of Pranava and Omkara

• Pranava (Pra + Nu): Derived from the Sanskrit prefix Pra (abundantly, excellently, onward) and the verbal root Nu (to praise, reverberate, or make a humming sound). Classical commentators explain Pranava as Prananoti iti Pranavah—"that which praises the Supreme Reality, remains ever-fresh, and leads the vital force (Prana) upward toward the transcendental Self."
• Omkara (Root Av): Derived from the Sanskrit verbal root Av, which carries nineteen classical shades of meaning including to protect, sustain, pervade, illumine, and satisfy. Phonologically in Sanskrit grammar (Sandhi), when the vowel A (A-kara) and the vowel U (U-kara) coalesce, they form the diphthong O, which then merges into the nasal labial M (M-kara) and dissolves into subtle resonance (Nada-Bindu).

Scriptural Foundation of Pranava

1. Patanjala Yoga Sutras (Samadhi Pada 1.27–1.29)

Maharshi Patanjali codifies the theology, methodology, and psychological fruits of Pranava Sadhana in three consecutive aphorisms:

1. Tasya vachakah pranavah (PYS 1.27): "The expressive designator (Vachaka) of Ishvara (Tasya) is Pranava (Om)". In yogic linguistics, the relationship between the name (Vachaka) and the named (Vachya, Ishvara) is eternal and intrinsic (Nitya-sambandha), like fire and heat.
2. Taj-japas tad-arthabhavanam (PYS 1.28): "Its repetition (Taj-japah) and contemplative absorption in its meaning (Tad-arthabhavanam) must be practiced together." Mechanical vocal repetition without feeling and awareness of the all-pervading Consciousness yields limited fruit; sound and meaning must merge.
3. Tatah pratyak-chetana-adhigamo'py antaraya-abhavash cha (PYS 1.29): "From that practice arise two direct outcomes: the realization of the inward-turned consciousness (Pratyak-chetana-adhigamah) and the complete disappearance of the obstacles (Antaraya-abhavah)." Specifically, Pranava Japa dissolves the nine psycho-physiological obstacles (Antarayas listed in PYS 1.30: Vyadhi [disease], Styana [mental languor], Samshaya [doubt], Pramada [heedlessness], Alasya [sloth], Avirati [craving], Bhrantidarshana [erroneous perception], Alabdhabhumikatva [non-attainment of yogic stages], and Anavasthitatvani [instability]) along with their four symptomatic accompaniments (PYS 1.31: Duhkha, Daurmanasya, Angamejayatva, and Shvasa-prashvasa).

2. Mandukya Upanishad: The Four-Quarter (Chatushpada) Structure of Om

The Mandukya Upanishad (Atharvaveda) opens with the declaration Harih Om! Om-ity-etad-aksharam-idam sarvam—"Om, this imperishable syllable, is the whole universe"—and analyzes Consciousness (Atman/Brahman) through the four quarters (Chatushpada) or phonetic measures (Matras) of Omkara:

Practical Demonstration Protocol for Pranava Japa

When demonstrating or leading Omkara recitation in the YCB practical exam, follow this five-step protocol:

1. Posture (Asana) and Hand Seal (Mudra): Sit in a stable meditative posture—Padmasana, Siddhasana, Vajrasana, or Sukhasana—with the pelvis grounded and the head, neck, and spine held erect in one vertical column (Samakaya-shiro-grivam). Gently close the eyes and relax the jaw, brow, and shoulders. Place the hands on the knees in Chin Mudra or Chinmaya Mudra for meditative Pranava Japa, or join the palms at the sternal heart center (Anahata) in Namaskara (Anjali) Mudra during opening and closing class prayers.
2. Inspiratory Phase (Puraka): Inhale slowly, deeply, and silently through both nostrils using full diaphragmatic-thoracic expansion without raising the shoulders.
3. Vocalized Phase (Uchcharana): Exhale smoothly while intoning A-U-M in a steady, unbroken middle pitch:
   • 1:2 Ratio (a common teaching ratio): Spend one-third of the exhalation on the vocalized O (A + U) and two-thirds on the prolonged humming M (Makara), or divide the syllable in a 1:1:2 ratio across A : U : M so the vibration travels consciously from the navel (A) through the ribcage (U) into the cranial sinuses (M).
4. Silent Resonance Phase (Amatra / Spandana): After the humming sound fades completely, do not immediately gasp for the next breath; pause for 3 to 5 seconds in absolute inner silence (Amatra), witnessing the subtle after-vibration (Anahata Nada) in the forehead and crown.
5. Physiological & Autonomic Effects: Prolonged vocalization at ~6 cycles per minute stimulates auricular and pharyngeal branches of the vagus nerve (CN X), increases paranasal nitric oxide (NO) synthesis fifteen-fold during Makara humming, synchronizes cardiorespiratory baroreflexes, and shifts electroencephalographic (EEG) activity toward calm alpha and theta rhythms.

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1.2 Concept and Recitation of Hymns (Vedic & Upanishadic Mantras)

Pedagogical Purpose of Opening and Closing Prayers

Participants enter a yoga hall carrying external mental agitation (Vyutthana), occupational stress, and sympathetic arousal. Collective chanting at the beginning of a session establishes group synchronicity (Samjnana), cultivates humility and reverence (Shraddha and Bhava), and transitions the nervous system into parasympathetic receptivity. Closing prayers seal the earned Pranic equilibrium and dedicate the merits of practice to universal well-being (Loka-sangraha).

Six Commonly Used Opening and Closing Hymns

The syllabus asks for the concept and recitation of hymns and of "selected universal prayers and invocations" but does not prescribe a fixed list. The six below are the ones most widely used in Indian Yoga classes, beginning with the Common Yoga Protocol invocation.

1. Common Yoga Protocol Opening Invocation (Samjnana Sukta — Rigveda 10.191.2)

Om Sangachchhadhvam samvadadhvam sam vo manamsi janatam
Deva bhagam yatha purve sanjanana upasate ||

• Word-by-Word Glossary: Sangachchhadhvam = may you walk/move together in harmony; Samvadadhvam = may you speak together in one voice/truth; Sam vo manamsi janatam = may your minds (Manamsi) apprehend/know (Janatam) in unity (Sam); Deva bhagam yatha purve = just as the ancient (Purve) luminous ones/gods (Devah) their appointed share (Bhagam); Sanjanana upasate = being of one accord (Sanjananah), accept/worship (Upasate).
• Meaning & Significance: "May we move together, may we speak in harmony, may our minds be of one accord; just as the ancient Devas unitedly accept their sacred share of the oblation, may we share and work in unity." Prescribed by the Ministry of AYUSH Common Yoga Protocol (CYP) as the primary secular-vedic invocation for group cohesion.

2. Guru-Shishya Saha-Navavatu Mantra (Katha & Taittiriya Upanishad — Krishna Yajurveda Shanti Mantra)

Om Sahana vavatu | Sahanau bhunaktu | Saha viryam karavavahai |
Tejasvinavadhita-mastu ma vidvishavahai |
Om Shantih Shantih Shantih ||

• Word-by-Word Glossary: Saha nau avatu = together (Saha) both of us—teacher and student (Nau)—may He protect (Avatu); Saha nau bhunaktu = together may He nourish/sustain us both; Saha viryam karavavahai = together may we exert great vigor/heroic energy (Viryam); Tejasvi nau adhitam astu = may what is studied (Adhitam) by us both be luminous/radiant with wisdom (Tejasvi); Ma vidvishavahai = may we never harbor cavil, jealousy, or hostility (Vidvisha) toward one another.
• Meaning & Significance: Harmonizes the pedagogical bond between instructor (Acharya) and learner (Shishya), eliminating ego-conflict in the classroom.

3. Pavamana Abhyaroha Mantra (Brihadaranyaka Upanishad 1.3.28)

Om Asato ma sadgamaya |
Tamaso ma jyotirgamaya |
Mrityorma amritam gamaya |
Om Shantih Shantih Shantih ||

• Word-by-Word Glossary: Asatah = from the unreal/ephemeral/untruth; Ma = me; Sat = to the Real/Existence/Truth; Gamaya = lead; Tamasah = from darkness/ignorance (Avidya); Jyotih = to the Light of wisdom (Jnana); Mrityoh = from death/mortal identification; Amritam = to Immortality/Self-realization.
• Meaning & Significance: Called the Abhyaroha (prayer of spiritual ascent), originally chanted by the priest during the Soma Yajna to elevate consciousness from phenomenal illusion to immortal awareness.

4. Purnamadah Shanti Mantra (Isha & Brihadaranyaka Upanishad — Shukla Yajurveda)

Om Purnamadah purnamidam purnat purnamudachyate |
Purnasya purnamadaya purnamevavashishyate |
Om Shantih Shantih Shantih ||

• Word-by-Word Glossary: Purnam adah = That (unmanifest Brahman) is infinite/whole; Purnam idam = This (manifest universe/individual self) is whole; Purnat purnam udachyate = from the Whole, the whole projects forth; Purnasya purnam adaya = even when the whole is taken from the Whole; Purnam eva avashishyate = the Whole alone remains undiminished.
• Meaning & Significance: Establishes that health (Svastha) is not something foreign to be manufactured, but an innate completeness (Purnatva) unveiled when Avidya is removed.

5. Traditional Invocation to Maharshi Patanjali (Patanjali Dhyana Shloka)

Yogena chittasya padena vacham malam sharirasya cha vaidyakena |
Yo'pakarottam pravaram muninam Patanjalim pranjalir anato'smi ||

• Word-by-Word Glossary: Yogena chittasya = through Yoga (Yoga Sutras), of the mind-field (Chittasya); Padena vacham = through grammar (Mahabhashya), of speech (Vacham); Malam sharirasya cha vaidyakena = and the impurities (Malam) of the body (Sharirasya) through medical science (Ayurveda / Charaka); Yah apakarot tam pravaram muninam = he who removed those impurities, to that noblest of sages; Patanjalim pranjalih anatah asmi = to Patanjali, with folded hands (Pranjalih), I bow down.
• Meaning & Significance: Celebrates the holistic threefold purification of mind, speech, and body attributed by tradition to Maharshi Patanjali.

6. Universal Closing Welfare Prayer (Shanti Patha)

Om Sarve bhavantu sukhinah | Sarve santu niramayah |
Sarve bhadrani pashyantu | Ma kashchid duhkhabhag bhavet |
Om Shantih Shantih Shantih ||

• Word-by-Word Glossary: Sarve bhavantu sukhinah = may all beings be happy/abide in Sukha; Sarve santu niramayah = may all be free from illness/affliction (Nir-amaya); Sarve bhadrani pashyantu = may all behold what is auspicious/good (Bhadrani); Ma kashchit duhkha-bhak bhavet = may no one (Ma kashchit) ever partake of suffering (Duhkha-bhak).
• Why Shantih Is Chanted Thrice (Tapas-Traya): Every Shanti Mantra concludes with three invocations of Shantih to pacify the threefold afflictions (Tapas-traya):
  1. Adhyatmika Tapa: Internal afflictions arising within one's own body (disease) and mind (anxiety, anger, greed).
  2. Adhibhautika Tapa: External afflictions caused by other living beings, society, microbes, or wild creatures.
  3. Adhidaivika Tapa: Cosmic or elemental afflictions beyond human control, such as extreme climate, natural disasters, or planetary influences.

1.3 Universal Prayers, Invocations and Nishpatti Bhava

Practical item 1.3 groups three things: universal prayers, invocations and Nishpatti Bhava. Universal prayers ask for the welfare of all beings rather than of one group (Sarve bhavantu sukhinah is the standard example). Invocations open the session by calling on the teacher, the tradition or the shared intention of the group (Sangachchhadhvam, Sahana vavatu, the Patanjali verse).

Nishpatti means accomplishment, completion or consummation, and Bhava means attitude or feeling. The syllabus does not publish a procedure for it, so treat it as the attitude with which a session is closed: the practice is complete, nothing is being chased, and its benefit is dedicated outward through the closing prayer. In a practical class this shows as an unhurried ending—a few moments of silence after the last Shantih, eyes opening slowly, no rush to stand up.

Do not confuse it with Nishpanda Bhava, a separate stillness-and-listening technique taught at The Yoga Institute, Santacruz. Nishpatti is also the name of the fourth stage of Nadanusandhana in Hatha Yoga Pradipika 4.76 (see Section 5.4)—the same sense of consummation applied to meditation on inner sound.

Summary Reference Table of YCB Syllabus Hymns