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Western Harris is a Ph.D. student at the University of California and a doctoral research affiliates to Kathmandu University said What of studies?

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We all know it's probably the U.S. Institute. He's also a Yogen and a translator in the tradition of Hindu Tibetan Buddhism and also goes by is

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Tibetan name singer Diana West and studied art history at the National Museum Institute in New Delhi,

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India. Buddhist studies have done university and received a degree in social cultural anthropology from the University of California, Davis.

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This is a case, and research combines textual art,

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historical and field site mythologies and examines life stories of the tantric Buddhist attempt known as the RUPA.

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It's not only revealed to be in touch with us, but also not an Orthodox Hindu traditions.

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Analysing the life stories and artistic representations in Tibetan and Sanskrit, tantric,

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Buddhist and other sources from South India, Nepal and Tibet, and argues that hagiography is a valuable geography,

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regardless of the relative historicity of the actual narrative,

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and will provide a rare sort of window into the evolution and reformulation of Buddhist practises.

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And a sceptic community's western welcome.

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Thank you, thank you. It's nice to nice to be here. Let's see if I can live up to that wonderful introduction, huh?

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Here we go. So as many of you are probably familiar with the figure of Yoruba, but just quickly,

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let's sort of go over some of the main key points here so we can all get acquainted with the figure, right?

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So the group is enumerated amongst the list of eighty four sisters in both Buddhist and non Buddhist lists.

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We have a number of excellent works attributed to the RUPA or Viru buzz.

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Of course, we have the emirate city, which Mallinson caused the hot yoga as tantric Buddhist source text.

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We also have a number of works in the 10 jaw Virgilio each in the muster related also rock the armoury, the armoury, the city staff, some doors.

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And how do you get these? We also have some Yoruba related work in the Sarkin Lamere tradition.

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Also some visionary works of such an sort of having visions of Yoruba and writing based on that.

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And of course, in Sanskrit, we also have a number of excellent works other than just the Amruta City.

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I found some Chinamasa done also here in Nepal. In National Archives, there's the praise of Hugo Retarder attributed to a EuropaCorp as well.

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We'll get into sort of the question or the issue of the group of Yorubas later.

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So this roopa is an enigmatic crossover figure revered by Buddhists, shavers, doctors, vice and others, the monocle Hindus sort of alike.

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He's featured in numerous novels, not the lists, which are lists of the nine,

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not those which are sort of credited as being the founders of the not sect.

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Though, as we will see later, exactly what constitutes the not sect or a knock in the first place is kind of fluid and difficult to pin down,

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and sort of many of his hagiography is even Tibetan and Buddhist hagiography sort of play on this sectarian ambiguity.

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So he's and, you know, various stories he's said or positioned as the chief of 500 Hindu sadhus, and he holds a pregnant part of permit.

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The text either in this in his robes or in his hair, so that when all the other soldiers are battling the shiva,

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he can, of course, bow to the perimeter in other geographies.

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The local people wonder, Is he a Buddhist? Is he a Brahmin? Is yeshiva himself?

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Who knows? And in and at least one version he claims to actually be the elder brother of Mahadev himself.

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So there's this kind of interesting sectarian ambiguity in the texts, in the hagiography, as I should say.

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One last interesting note is that a number of the deer, these deer, the lineages with whom Europe is associated,

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namely China, must Xstrata or Hugo to Tara, to Mongolia or to Marathi, as well as Kali.

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Whether you want to take that as McCawley or Crow Kali, they're both lineages are associated with Europa.

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All four of those goddesses later appear in the Shiva Shop, the collection of Ducharme videos.

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So whether or not, of course, the similarity in name is actually proof of being the exactly the same deity as is a separate question.

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If you're interested in that, I would refer you to Shin's 2018 work on the top on the history of the dust on my videos.

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However, having given this sort of historical introduction here,

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I'm actually not all that interested in the question of a historical view Rupa or V Lupus.

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Rather, I'm more interested in the question of Yoruba or voodoo pox as a literary character,

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particularly following Appleton Appleton's actual application of black and Jean's notion of the four features of the latter character.

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These four features are stability that is recognisability of a character, despite appearing in different contexts,

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flexibility that is the adaptability of the character to local concerns of different communities at different points in time, interjects duality.

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That is, the use of character themes and motifs from other texts related to that same character and the

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demand stability that is the character's ability to demonstrate particular ideas or positions,

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whether they be theological, social, hierarchical, ethical, polemical,

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etc. The fourth category there is actually really interesting and a major point of my dissertation.

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However, in the space of time that we have here, I might not really be able to dive into that.

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So we'll really be looking at the group as stability,

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flexibility and intellectuality between Tibetan, Buddhist and South Asian and non Buddhist sources.

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So my main thesis here? Oh, and sorry, I should say one thing on time.

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Please do let me know I will try to be good about about trying to stick to the stick to the schedule, but I get excited.

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Sometimes and ramble song, so please, please keep me on time.

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OK. So my main thesis here tonight or today is that based on the black and white or

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black Indians notions of the notion of the four features of literary character,

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I'm going to argue that the Yoruba of the Tibetan hagiographic tradition and the voodoo paksha or

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voodoo pox are not of the South Asian narrative tradition are indeed the exact same character.

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They sort of constitute a shared cross into a sectarian narrative corpus stretching from South India to Tibet and beyond,

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with shared plot points, themes, motifs, tropes, etc., as well as shared iconographic vocabulary.

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That said, the iconographic and visual element is extremely important to the Rupert tradition, as well as to my dissertation.

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However, again, for the sake of time, we might not be able to get it into that, but just a sort of reference that a little bit.

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I've tried to include some nice images just to sort of get the the whole sensory experience.

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Now, this thesis might sort of be uncontroversial to some folks in yoga studies.

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For instance, Mallinson as recently in Twenty Nineteen,

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I think it was written Caliban China and the cocaine and sort of it's quite clearly shows that,

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but briefly shows that view on postures sort of share a literary tradition, but within within Tibetan studies more broadly,

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I am frequently asked, Yeah, but how do you know, how can we be sure that Mallinson is correct?

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How can we be sure that we grew up on Veeru, just last few Pakistan that are indeed the same character?

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And so tonight I want to sort of settle that once and for all.

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Secondarily, that's my sort of secondary thesis or objectives here is that I would like to present the Yoruba overview

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to Paksha as a case study revealing the vast Indo-Tibetan Cross-sectarian dialogic nature of the SED,

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the narrative corpus.

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I want to present to the Indo-Tibetan, said the corpus as a more accommodating alternative to Munoz's notion of the three fold not canon,

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as many of the texts about so-called not sitter's are not strictly written by or even for nots.

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However, that notion of knighthood may be defined.

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I would also like to address the under appreciation of Tibetan and Buddhist sources and not the yoga studies sort of more broadly.

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I would like to bring to light a number of previously unrecognised and or understudied South Asian Viru Paksha

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narratives in in that endeavour will add Tomlinson's 2019 list of known non Buddhist texts that mention Yoruba.

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And finally, I'd like to shed new light on the we'll sort of get to this at the end,

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hopefully shed new light on enduring debates about the sharing sort of substratum versus borrowing models of Buddhist driver exchange.

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So it being that my thesis is that Veerappa is voodoo posture to sort of before we

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get into the nitty gritty of the textual stuff just to come right out with it.

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I know of at least two places in which the Yoruba of Tibetan lore is explicitly associated with the name Voodoo Paksha.

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Both are associated with post 14th century Indian Buddhists who journey to Tibet.

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So we have in sorry put there's three Viru Pacha Venkata.

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The diacritics here are based on the Tibetan transcription of the title, so they might be a little bit interesting.

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Sanskrit is out there, a.k.a. the Paladin Bureau, up a number of Paapa.

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And so in this case, in the beginning of the text where it describes, you know, in Indian,

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in Indian language, the text as such and in Tibetan language, the text is such here in the titles themselves.

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We see in one, we have feudal paksha and in the other one we have beer wapa, which is a common Tibetan way of transcribing the name of Yoruba.

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Another of another such text is one Rattner's Marmo, badesh.

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And so we have a little screenshot of that text here.

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This is an interesting text that seems to be a sort of Tibetan Landray esque lineage that sort of enters back into the Indian fold through Van Rutina.

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And so we have a number of interesting transcriptions of Tibetan names or translations of Tibetan names into Sanskrit.

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But here, of course, we have the Yoruba of the Landray tradition being written as we do paksha.

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But to get more into the nitty gritty of it, I'd like to introduce the Tibetan narrative that will be looking at tonight.

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So we have, of course, a bias that does to curiosity, said the perfidy, which of course, the tales of the 84 cities also known as the Top Gear.

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True, Tashi lo que. We also have Padma Droops, dodgy elbows and by Yeltsin sort of beer swapping logos or stories histories of the of of Yoruba.

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These text, these two texts, there are some very important differences between them, so I don't want to gloss over that.

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However, tonight, for the sake of sort of broad stroke narrative, logical comparisons, they're very similar.

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And so I'm sort of putting them combining them together.

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But again, there are some important differences that I do want to sort of acknowledge at first.

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We also have the text that I just mentioned that it started Petra's Shreve,

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the Tupac Shakur victor that is the Portland bureau up in number Harper, the complete liberation or the story of the liberation of Sri Yoruba.

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And then, of course, we have girls.

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It's always Blue Angels or Adaptor Nympho and Tara, not those seven transmission lineages or the cover up doing them.

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Then this is, of course, not an exhaustive list of all of the Tibetan texts that contain mention or narratives about Yoruba.

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But these are some of the main ones that I'd like to touch on here.

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So looking at the tales of the eighty four cities, that is the Choctaw acides, these two the Prophet Dean.

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So in this story, Rupa is a monk at Soma Puri.

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He throws away his rosary in discouragement at not having signs of of of accomplishment.

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A vision of Baguio Guinea Re inspires him to take back up his practise.

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We also have a important theme that we're going to see, especially when we get into some of the South Asian texts.

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This theme of bird eating, of eating, of birds. We also have the expulsion motif right that he's this sort of despised figure that gets expelled,

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only to then be vindicated and revealed to be a great master.

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We have the scene in which he reverses or splits the Ganga so that he can walk across sort of saying, Oh, I'm this hideous, wretched one.

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Like, you know, just you don't want your waters to touch me. So splits the Ganga and walks across.

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And we have, of course, the famous tavern scene in which he stops the Sun with the famous gesture in order to continue drinking alcohol,

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only to eventually sort of force the king to pay his bar tab in order to release The Sun.

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We have the theme of him breaking the linga in this case, in this particular text that's described as being in the land of Indra.

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That's an important point that we'll see also come up in one of the South Asian

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texts we'll get into later this notion of land of Indra or Indra direction.

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This is the text in which he identifies himself as Madiba's older brother, right?

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He says that in what tradition does the elder brother bow to the younger brother when King is trying to force him to bow to shiva?

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And of course, he goes on to tame some demons. So you'll notice that as we go through this, a number of these words are in bold.

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Some of these bold words are some of the key themes and motifs as we compare these different stories that I

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really want to draw attention to so that you can see how they sort of appear in all of these different text.

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Now in Tropic Yeltsin and Podmore Juba's Bureau Up, Look, you are the Islamic Gokongwei Lagoon.

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We have Europe as a monk at Nalanda.

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In this case, instead of Soma Puri again, he throws away his rosary in it, being discouraged that no signs of accomplishment.

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This time, he has a vision of nitrosamine interesting.

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This is where the first place where I've seen the introduction of my right and the relationship with the Hippodrome mandala,

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which of course, is so important to the soccer tradition and their Landray, of course.

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Then we have the expulsion motif he's kicked out.

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In this case, we really see this emphasis on sexuality and the presence of women again, reverses the Gunga.

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This is the story in which we get this question Oh, is he a Brahmin? Is he a Buddhist or is he Mahadev himself?

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Again, we see bird eating. He's eating birds and bugs along the way, and everybody's like, Oh, you're so gross.

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And he's like. And then he brings them back to life.

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And he says, You know, Oh, if I eat the bugs and birds, you call me gross, and if I bring them back to life, you call me gross.

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So you know, what can I do? We also have the famous tavern scene again, this drinking alcohol and stops the sun has the King Pays Bar tab.

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We also have the breaking of the Lingam scene.

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In this case, this is the first Tibetan sauce in which that site is explicitly identified with Beamish Worry and Troxler drama.

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This is also an important ID when we start looking at some South Asian texts.

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We see them taming kings, demons and blood.

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Fighters, there's also this interesting look, a test for a connexion with which will come out in the South Asian text as well.

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I'll look at just where I sort of says, you know, like, Oh, don't be so harsh in the way that you tame beings.

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And he says, OK, let me just go to some poetry and tape, and I'm sorry.

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Samantha in Saurashtra and tame one one last being in the sort of harsh, hard knock way.

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And then and then I'll be a I'll be sort of peaceful and nice, and we see him dissolving into a stone image at Soma.

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Not the eye. I believe it's at Soma, not the.

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But at the end he dissolves into a stone image. All of these.

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These last points will come out in a number of South Asian texts, particularly this one from Nepal, that I have found in a sari.

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Boutrous Review Rapture View Qatar.

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We see the introduction of a very, very, very important set of motifs that sort of define actually many of the South Asian texts.

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And this is this introduction of the idea of the Great Sin, the Maha Pop,

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particularly incest in a number of of the South Asian texts, as well as some of the Tibetans.

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There's this notion that Europe was born and and is prophesied to commit these great sins, including maternal incest being one of the main one.

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Also, alcohol, cow killing Brahman aside as well. I also would like to sort of make a shout out here to silks.

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Twenty five work on incest in Buddhist in the Buddhist literary tradition, which has been a huge help in my research.

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However, I can't really dive deep into the incest motive and the connexion with the Mahadev and Dharma Rucci incest narratives as I would like to,

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but I would at least like to sort of make an aside there.

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So having this, having committed maternal incest and these other horrible, horrible crimes, he seeks a guru in order to cleanse his sense.

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And in this case, in this case, he finds Jalandhar and another set of Buddhists, or Siddall, enumerated in Buddhist lists.

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That is also associated with the not tradition. And he finds Stalin in a place that's written in the Tibetan text as Hundley's.

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Now remember this this name of this site. This is important for one of the South Asian texts that we'll look at later.

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Donald Dhara gives him instruction on Virgilio Geeni as Chinamasa again.

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Here we have some connexion with extant texts associate with Europe and China Master.

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He throws away his rosary discouraged island diary inspires him.

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He has a vision of androgyny, tamed kings and blood sacrifices.

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And of course, we have the contextual connexion again.

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So here, although we see the introduction of this important incest motif that after the sort of 14th century,

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I believe it is become so defining for the. But we also see important points that hearken back to some of the 12th century Tibet.

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The 12th century sources like Abyei thought does drop a Yeltsin's and pockmarked troopers.

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That is like the throwing of the rosary that becoming discouraged, etc. in in the Torah, not this text.

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Again, we have the similar sort of incest narrative, but split between the Yoruba and Karlovy Yoruba, which is supposedly a disciple of Yoruba.

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So we see many of the same exact motifs between the 12th century and then the 14th century texts, but split between the rupiah and all of Yoruba.

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I'm going to go a little bit quicker here so we can get through all the content.

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And finally, in the last Tibetan texts that we're going to look at here, that is the blue channels.

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We see this interesting story about an Arab party or an ala putra, so an associate with the Mogga Pasha lineage above.

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Look where we see this great sin motif. He accidentally killed or accidentally kills his mother meditates on a mogul.

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Pasha drops his rosary and discouragement. A visionary inspires him.

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And this figure is said to go on to become a guru of Yoruba.

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So we have similar kind of narratives being associated, both with a supposed guru of Yoruba as well as a disciple of the Yoruba.

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A little aside, voodoo parka and error are both. Both appear in the poly canon as names of snakes.

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So there. Is that a coincidence or is there some association or mis naming in the blue annals of aeropuerto or ala Patras,

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as Voodoo said, sort of getting that mixed up? I don't know.

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Now, some of the geographical sites mentioned in the in the Tibetan texts are important because we see at these exact same sites,

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actually, we see some or many of these sites are the precise sites where we see narratives being produced about Voodoo Paksha.

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So we have sites like Sri Silom, Maharashtra, Odisha, Totally or Kadry and the Konkan.

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So we had Condola in one text, Tibetan texts, we had Konkona and another Tibetan text and of course, cuddly.

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And the Konkan are important sites of of EuropaCorp, the narrative production.

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So from our rostro, we have these two monobob text, the Leelah.

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A treaty on the future part now we don't see the incest motif in this text, but we see this.

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He is said to be a great teacher of the knot pond. We see him destroying the Lingam at Drops drama.

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He meets Go Rocks on his way to Solman North and South Rostro, which are exactly like in the Tibetan narratives.

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There's the scene of this competition with Gau Raksha, where a goat upshaws body is hit with a sword,

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but the sword is sort of passes through it, whereas when your partner's body is hit with a sword, it's hard.

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And there's this association between this kind of pun on the Vajra Chi and the Bhadra or leave you, Rupert,

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coming from the blood-red tradition and his body being hard whereas got up knots sort of body is not hard and is said to be better.

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And so because of this scene, God actually initiates him under the name a Dundee,

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not which Dundee meaning firms so meaning like, oh, after being initiated by Gracia, he's no longer firm in that inferior way.

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But this could also be a sort of double entendre, as Dundee can mean hardy or even sexually aroused.

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So Mallinson has pointed to this Oli Amarula connexion also maybe referring not just to the Vajra and Shiva associations,

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but also the celibate and non celibate version.

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He tames kings, et cetera, in the in another South Asian text, this one from Sri Shalem.

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That is the nub, not the true trauma. He is counted amongst one of not those the nine knots he's born in Maharashtra.

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He eats a bird's heart that grant sisterhood. Here's that bird eating motif again.

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Heavenly Voice confirms his life story to Mina.

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Nathan explains that in a previous life, the departure was a Brahman that committed incest and drowned himself in the Ganga to cleanse his sins.

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So here we see this incest motif again, and he becomes a disciple of Europa.

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Also, this text directly attributes attack is the says.

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The bureau publishes the author of a text called the Amrita Canyon City, which assembly as the emirate.

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The city. Now amongst the new text that I would like to bring to the fore tonight that is not listed on Mallinson list is the correct.

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Some had thought this is a Odia or old audio text found published in Bunzel.

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Siddharth Mohan. These work the the not literature and tradition of Odisha.

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So in this case, the tale is narrated by Charleine Dara a.k.a Hardy PA.

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It's prophesied that Paksha will commit these great sins, and it goes on to be true.

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So in order to this year, in order to cleanse it. Since he procrastinate, Shiva Shiva sends them to the mountains of Nepal to meet Guereca,

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who initiates him with the name of Guru Paksha because he's said to be born from a Brahmin mother and a Sugiura father.

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He has a god who travels all around and has a vision of the Goddess Hen Geula or

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Ganguly Mata and receive the Brahma Thunder and a Vadra hat from Brahma and Indra.

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This notion of this hat is kind of interesting and also comes up in time,

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not this seven transmission lineage tax this idea that he has a hat or a budget hobby.

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I'm not exactly sure, but it sort of seems to be a common theme.

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He's told that he will break idols merely by bowing to them again.

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This seems to be a similar similarity with this idea of breaking the Lingam at Drops Rama by prostrating.

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We have this extensive travel motif, and many of the places that he's set to visit are again are also similar to those in other Tibetan versions.

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And importantly, he rejoins Guereca and McKendry in Kudla, etc. This is again that same place.

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Come believe that we saw or Konkona in the Tibetan texts, the Brahmins rebuke and expel him from charge.

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Poor for drinking alcohol. Again, this alcohol drinking motif. And he reverses a river again instead of the Ganga.

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This time we have the biotronik, which is in Odisha. I would.

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I would like to say that these Odia texts and audio letter in general,

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general requires or demands or warrants much, much more attention within South Asian studies.

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So please, please, please study audio. Now, another text that I would bet is not on mountain.

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Since lists of known non Buddhist group or few reports of text is a number of views out of Europe out of proportion narratives from Nepal.

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These ones are quite striking because they bear a lot of resemblance to the tradition that we see in the Tibetan version with this former puri thing.

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So I've even had Tibetans here in Nepal say that actually the place where the Yoruba

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broke the lingam and then dissolves into a dissolves into a stone image is actually not.

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It's so monotonous or Rashtra, but it's actually here at Pottery Party.

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Not so in these and these Nepali versions, which are contained in a number of bomb.

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Shoval is also a text called the voodoo satire the yatra, which attributes itself to him about the scandal Parana, as well as a noir text.

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Called the Bureau of Toxic Qatar similar to the Bureau of De-clutter that we saw from Sri Putra.

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So in this again, we have this prophecy that he will create it, commit great sin, including incest, which he does.

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He first published Shiva for expiation, but Sheba's advice nearly kills him.

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So he then goes on to find a monk or the Buddha or uBlock, etc. in different versions who tells him to recite a mantra until this rosary breaks.

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He does so, but multiple times throws his rosary down in discouragement because he's not having signs of accomplishment.

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But each time a visionary inspires him again, very akin to the Tibetan stories.

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Finally, he achieved city cities, and with his newfound powers,

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he grows around breaking Lin gums all over the place in retaliation for the bad advice that he received from Shiva.

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Again, the linga breaking motif he goes to break the linga at Posture Party,

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not but shiva Sikhs Obligatoires Protection of Look, etc. gives Shiva his five Buddha crown.

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And when reporting that Shiva is reporting, that puts on the crown. When Roopa gets there,

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the instead of sitting shiva as Shiva Veerappa sees him as uBlock Touch for it because he's wearing a blue shorts crown and worships him in that.

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I would like to say that actually the story of of view Rupa the scaring shiva into taking refuge in uBlock,

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etc. is the source of a number of religious holidays and festivals here in Kathmandu, including the Muk, Me and the local Mahatir.

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Look at me, Mahajan, Sari Nehwal speakers. I'm butchering that.

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And here he's associated with the UPA shadow brother and a Moga Pasha.

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I've looked very much like the association with this ala patra figure of being associated with a Mogga Pasha as well.

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And finally, in the name in these Nepali versions, he stops the Sun in order to continue worshipping, eating and drinking at Pashtu Party.

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So we see a number of similar similar motifs.

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And finally, he's said to reside or dissolve into a stone image at pottery party.

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Not very similar to the story at some asari soma nata.

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This image that we have here is actually the Bureau Paksha statue at Posh Party.

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Not finally, the last South-Asian text that I'd like to talk about is the three cuddly Manju, not the Mahatma.

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So remember all of those references to Billy Connolly and the Konkona?

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Well, here we have another Viru pop shuttle coming out of the related to the cuddly or Kadry Mandarin, not temple in Mangalore,

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which of course, as Mallinson, a number of their scholars have pointed out, was a Buddhist v hara turned Buddhist.

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So I turned to not the temple turned Vishnu of a temple.

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So in this text, this is sort of the most Orthodox, but a monocle of the of the South Asian voodoo Apotex.

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He's counted amongst the nave, not those in this particular text.

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He's born a perfect three eyed Brahman, which is in part the poor carried in Maharashtra.

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He takes refuge in the great goddess in the form of Carhartt. The poor Ashwari Narada appears and gives a prophecy in this case instead of incest.

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But he says that he gives a prophecy that it'll be a little tame people using magical illusions.

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He's frequently referred to as the Lord of the Konkan.

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I'd like to say an aside, there might be interesting because there's a number of Tamil texts that talk about a figure called the Conqueror Sida,

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and this may, of course, be zero Berkshire, but of course, could be a number of other cities associated with the Konkan.

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But the fact that in this text he's called the Lord of the Conquered he is the continent could be a hint.

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There we see the extensive travel motif he goes to three Silom him about Kalinga, the land in the Indra direction,

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which is a similar motif from the Tibetan texts going in in the direction of Indra,

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Joxer, Rama country, etc. He carries a skullcap filled with Moon that dirty tames demons, eye drops Arama instead of splitting the linga.

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Because for a sort of orthodox from Monocle Tech, splitting the linga might be just a little bit too extreme.

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So instead, he rebukes the Brahmins there as not being Brahmin enough for not being correct.

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Brahmins This is the sort of the Brahmin double kind of the good Brahmin bad Brahmin situation.

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He takes the form of an overdue there and admonishes the Brahmins and causes a cat to recite the Vedas to show that look,

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just reciting the Vedas enough isn't enough to, you know, be considered a good Brahmin.

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You've got to do all the other, the other good stuff, too.

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And there's also this alcohol and women cavorting with women motifs instead of stopping the sun in the sky.

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Mallinson, as pointed out the similarity here,

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where he grabs the moon in order to use it as a cup to sort of impress a particular lady that he's interested in.

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So we can now see, of course, looking at this sort of broaden narrowed to logical comparison that that many of the details from the from the Tibet,

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Nepal and across South Asia contain many of the same kinds of scenes, themes, motifs, etc.

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So now with that in mind, now that we can say the Yoruba is the POC show, right?

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At least that's a literary character and that. I want to shift gears and towards the end here and problem with ties, this notion of the not canon.

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So Munoz presents this idea of the three fold not canon as being being constituted of hot yoga treatises in Sanskrit,

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poetry in vernacular languages and Haig geographical narratives.

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However, recently, as scholars like Jamal Jones, who happens to be one of my advisors shout out to Jamal,

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he has challenged the idea of what should actually be called not literature,

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as many of the narratives about not cities are not written by or for nots.

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We have mob on kabobs and arteries in Maharashtra. We have Veera shavers and she style them.

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We have so-called about device numbers in Odisha.

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We have six months and ismailis across North India and of course, the Buddhas in Nepal and Tibet who are all writing about not or ostensibly not.

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So the question of can we really call something and not the text, just because it contains or was written by or written for or mentions?

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Not right? It's a little bit more complicated than that. Even though still the above three categories,

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the threefold not can in those categories perfectly are perfectly mirrored in the case of Yoruba literature,

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in that we have Yoruba texts like them read the city which are and and southerners on duty yoga, which are sort of practise manuals.

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We have Doha's and Ghitis in vernacular languages. We also have the number of hagiographic texts that we've looked at.

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However, the the only issue here is that only a few texts in the Yoruba corpus can really be called knock texts.

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So even though it fits the three fold part, the non-canon part is a little bit tricky.

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As such, this sectarian model of a not can in risk perpetuating the kinds of habitual under appreciation

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of Buddhist and Tibetan sources that has characterised much of the relevant research.

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I'm near completion here. I assume we're probably getting close on time problem enticing the not can and just a little bit

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further the sectarian parameters determining what and not even is in the first place are fluid,

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contested, ever shifting and highly localised region by region.

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For instance, there are reports of Buddhist knots or not self-identifying as Buddhists well into the

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early period attested in the works of Tibetans like drinking and drinking orange and talks,

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talks about Kumba, draw, Tara Nata and others.

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Unfortunately, that the few Tibet ologist who do discuss such so-called Buddhist knots usually dismiss them outright,

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often portraying them as opportunistic charlatans intent on duping ignorant Tibetans.

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Even DeMint David Templeman, who's been extremely helpful for my own research.

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Who and who has written extensively on late,

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but it's not tends to characterise them as these sort of dubious pseudo Buddhists who bring nothing new to the Buddhist fold.

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But I argue that the very existence of knots claiming to be Buddhist and producing Buddhist literature that contains

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reference and and meditation manuals on Buddhist deities like Buddha Topiwala well into the early modern period,

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is in itself definitely, very definitely something new and a novel contribution and and warrants further,

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further analysis for a more thorough rebuttal of such dismissals of these Buddhist knots,

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I would like to refer you to McKeon's to a 2018 book Guardian of a Dying Planet Flame,

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which is from where I found the show Putra Viru Viru POCSO Text.

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He does a very good job in his introduction of refuting some of these dismissals of.

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But it's not so. In contrast to this idea of the fold, not canon, I'd like to end by making the case for the idea of an Indo-Tibetan SED the corpus.

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So if many of the stories about not cities were not written by, or for or not, if what constitutes a knot is so utterly fluid in the first place,

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and if the concept of a sectarian knot can and risk further perpetuating the underappreciated

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appreciation a valuable not consider literature outside those imagined sectarian boundaries,

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then an alternative category is obvious, then sorely needed.

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I propose the model of an Indo-Tibetan SED the corpus by shifting the emphasis away from the sectarian affiliation that is this word not,

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and towards the more shared notion of the SED that in this way, such a model, I argue,

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is more accommodating of the diverse cross-sectarian and dialogic nature of this literature.

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I sort of so I sort of started with a call to arms for Tibet apologists to engage more actively with yoga studies.

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So what does this whole narrative logical rigamarole have to do with yoga studies that we've really just been talking so much about?

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Hagiography is a narrative literature. Well, assessing the place of narrative literature in this sort of sharing substratum versus

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borrowing debate about Buddhist Hindu exchange and following scholars like Appleton,

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there's this idea that narrative literature creates a shared dialogic space.

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Perhaps we can even call it something like a shared substratum that challenges the

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staunchly sectarian basis of strict the strictly of the strict borrowing model.

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I also sort of want to investigate how the dialogic nature of narrative literature allows characters and stories to cross sectarian boundaries,

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and investigating this helps us to better understand how the practises and ideas associated with those characters in this case, hot yoga do the same.

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In other words, studying and investigating the way that vroom,

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vroom and voodoo popular stories transcend and cross these kind of sectarian boundaries also

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shines a light on some of the same ways that that the practises associated with them in this case,

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hot yoga, also cross those same boundaries. The place of Yoruba narrative production, as I said before Tibet, Nepal, East India through Silom,

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Kadri Mangalore tend to be the same key sites of hot yoga propagation and Buddhist Hindu exchange.

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So with that, I would like to start end by saying thank you and open it up to questions.