Western Harris is a Ph.D. student at the University of California and a doctoral research affiliates to Kathmandu University said What of studies?
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
Tibetan name singer Diana West and studied art history at the National Museum Institute in New Delhi,
India. Buddhist studies have done university and received a degree in social cultural anthropology from the University of California, Davis.
This is a case, and research combines textual art,
historical and field site mythologies and examines life stories of the tantric Buddhist attempt known as the RUPA.
It's not only revealed to be in touch with us, but also not an Orthodox Hindu traditions.
Analysing the life stories and artistic representations in Tibetan and Sanskrit, tantric,
Buddhist and other sources from South India, Nepal and Tibet, and argues that hagiography is a valuable geography,
regardless of the relative historicity of the actual narrative,
and will provide a rare sort of window into the evolution and reformulation of Buddhist practises.
And a sceptic community's western welcome.
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?
Here we go. So as many of you are probably familiar with the figure of Yoruba, but just quickly,
let's sort of go over some of the main key points here so we can all get acquainted with the figure, right?
So the group is enumerated amongst the list of eighty four sisters in both Buddhist and non Buddhist lists.
We have a number of excellent works attributed to the RUPA or Viru buzz.
Of course, we have the emirate city, which Mallinson caused the hot yoga as tantric Buddhist source text.
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.
And how do you get these? We also have some Yoruba related work in the Sarkin Lamere tradition.
Also some visionary works of such an sort of having visions of Yoruba and writing based on that.
And of course, in Sanskrit, we also have a number of excellent works other than just the Amruta City.
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.
We'll get into sort of the question or the issue of the group of Yorubas later.
So this roopa is an enigmatic crossover figure revered by Buddhists, shavers, doctors, vice and others, the monocle Hindus sort of alike.
He's featured in numerous novels, not the lists, which are lists of the nine,
not those which are sort of credited as being the founders of the not sect.
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,
and sort of many of his hagiography is even Tibetan and Buddhist hagiography sort of play on this sectarian ambiguity.
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.
The text either in this in his robes or in his hair, so that when all the other soldiers are battling the shiva,
he can, of course, bow to the perimeter in other geographies.
The local people wonder, Is he a Buddhist? Is he a Brahmin? Is yeshiva himself?
Who knows? And in and at least one version he claims to actually be the elder brother of Mahadev himself.
So there's this kind of interesting sectarian ambiguity in the texts, in the hagiography, as I should say.
One last interesting note is that a number of the deer, these deer, the lineages with whom Europe is associated,
namely China, must Xstrata or Hugo to Tara, to Mongolia or to Marathi, as well as Kali.
Whether you want to take that as McCawley or Crow Kali, they're both lineages are associated with Europa.
All four of those goddesses later appear in the Shiva Shop, the collection of Ducharme videos.
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.
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.
However, having given this sort of historical introduction here,
I'm actually not all that interested in the question of a historical view Rupa or V Lupus.
Rather, I'm more interested in the question of Yoruba or voodoo pox as a literary character,
particularly following Appleton Appleton's actual application of black and Jean's notion of the four features of the latter character.
These four features are stability that is recognisability of a character, despite appearing in different contexts,
flexibility that is the adaptability of the character to local concerns of different communities at different points in time, interjects duality.
That is, the use of character themes and motifs from other texts related to that same character and the
demand stability that is the character's ability to demonstrate particular ideas or positions,
whether they be theological, social, hierarchical, ethical, polemical,
etc. The fourth category there is actually really interesting and a major point of my dissertation.
However, in the space of time that we have here, I might not really be able to dive into that.
So we'll really be looking at the group as stability,
flexibility and intellectuality between Tibetan, Buddhist and South Asian and non Buddhist sources.
So my main thesis here? Oh, and sorry, I should say one thing on time.
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.
Sometimes and ramble song, so please, please keep me on time.
OK. So my main thesis here tonight or today is that based on the black and white or
black Indians notions of the notion of the four features of literary character,
I'm going to argue that the Yoruba of the Tibetan hagiographic tradition and the voodoo paksha or
voodoo pox are not of the South Asian narrative tradition are indeed the exact same character.
They sort of constitute a shared cross into a sectarian narrative corpus stretching from South India to Tibet and beyond,
with shared plot points, themes, motifs, tropes, etc., as well as shared iconographic vocabulary.
That said, the iconographic and visual element is extremely important to the Rupert tradition, as well as to my dissertation.
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.
I've tried to include some nice images just to sort of get the the whole sensory experience.
Now, this thesis might sort of be uncontroversial to some folks in yoga studies.
For instance, Mallinson as recently in Twenty Nineteen,
I think it was written Caliban China and the cocaine and sort of it's quite clearly shows that,
but briefly shows that view on postures sort of share a literary tradition, but within within Tibetan studies more broadly,
I am frequently asked, Yeah, but how do you know, how can we be sure that Mallinson is correct?
How can we be sure that we grew up on Veeru, just last few Pakistan that are indeed the same character?
And so tonight I want to sort of settle that once and for all.
Secondarily, that's my sort of secondary thesis or objectives here is that I would like to present the Yoruba overview
to Paksha as a case study revealing the vast Indo-Tibetan Cross-sectarian dialogic nature of the SED,
the narrative corpus.
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,
as many of the texts about so-called not sitter's are not strictly written by or even for nots.
However, that notion of knighthood may be defined.
I would also like to address the under appreciation of Tibetan and Buddhist sources and not the yoga studies sort of more broadly.
I would like to bring to light a number of previously unrecognised and or understudied South Asian Viru Paksha
narratives in in that endeavour will add Tomlinson's 2019 list of known non Buddhist texts that mention Yoruba.
And finally, I'd like to shed new light on the we'll sort of get to this at the end,
hopefully shed new light on enduring debates about the sharing sort of substratum versus borrowing models of Buddhist driver exchange.
So it being that my thesis is that Veerappa is voodoo posture to sort of before we
get into the nitty gritty of the textual stuff just to come right out with it.
I know of at least two places in which the Yoruba of Tibetan lore is explicitly associated with the name Voodoo Paksha.
Both are associated with post 14th century Indian Buddhists who journey to Tibet.
So we have in sorry put there's three Viru Pacha Venkata.
The diacritics here are based on the Tibetan transcription of the title, so they might be a little bit interesting.
Sanskrit is out there, a.k.a. the Paladin Bureau, up a number of Paapa.
And so in this case, in the beginning of the text where it describes, you know, in Indian,
in Indian language, the text as such and in Tibetan language, the text is such here in the titles themselves.
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.
Another of another such text is one Rattner's Marmo, badesh.
And so we have a little screenshot of that text here.
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.
And so we have a number of interesting transcriptions of Tibetan names or translations of Tibetan names into Sanskrit.
But here, of course, we have the Yoruba of the Landray tradition being written as we do paksha.
But to get more into the nitty gritty of it, I'd like to introduce the Tibetan narrative that will be looking at tonight.
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.
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.
These text, these two texts, there are some very important differences between them, so I don't want to gloss over that.
However, tonight, for the sake of sort of broad stroke narrative, logical comparisons, they're very similar.
And so I'm sort of putting them combining them together.
But again, there are some important differences that I do want to sort of acknowledge at first.
We also have the text that I just mentioned that it started Petra's Shreve,
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.
And then, of course, we have girls.
It's always Blue Angels or Adaptor Nympho and Tara, not those seven transmission lineages or the cover up doing them.
Then this is, of course, not an exhaustive list of all of the Tibetan texts that contain mention or narratives about Yoruba.
But these are some of the main ones that I'd like to touch on here.
So looking at the tales of the eighty four cities, that is the Choctaw acides, these two the Prophet Dean.
So in this story, Rupa is a monk at Soma Puri.
He throws away his rosary in discouragement at not having signs of of of accomplishment.
A vision of Baguio Guinea Re inspires him to take back up his practise.
We also have a important theme that we're going to see, especially when we get into some of the South Asian texts.
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,
only to then be vindicated and revealed to be a great master.
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.
Like, you know, just you don't want your waters to touch me. So splits the Ganga and walks across.
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,
only to eventually sort of force the king to pay his bar tab in order to release The Sun.
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.
That's an important point that we'll see also come up in one of the South Asian
texts we'll get into later this notion of land of Indra or Indra direction.
This is the text in which he identifies himself as Madiba's older brother, right?
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?
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.
Some of these bold words are some of the key themes and motifs as we compare these different stories that I
really want to draw attention to so that you can see how they sort of appear in all of these different text.
Now in Tropic Yeltsin and Podmore Juba's Bureau Up, Look, you are the Islamic Gokongwei Lagoon.
We have Europe as a monk at Nalanda.
In this case, instead of Soma Puri again, he throws away his rosary in it, being discouraged that no signs of accomplishment.
This time, he has a vision of nitrosamine interesting.
This is where the first place where I've seen the introduction of my right and the relationship with the Hippodrome mandala,
which of course, is so important to the soccer tradition and their Landray, of course.
Then we have the expulsion motif he's kicked out.
In this case, we really see this emphasis on sexuality and the presence of women again, reverses the Gunga.
This is the story in which we get this question Oh, is he a Brahmin? Is he a Buddhist or is he Mahadev himself?
Again, we see bird eating. He's eating birds and bugs along the way, and everybody's like, Oh, you're so gross.
And he's like. And then he brings them back to life.
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.
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.
We also have the breaking of the Lingam scene.
In this case, this is the first Tibetan sauce in which that site is explicitly identified with Beamish Worry and Troxler drama.
This is also an important ID when we start looking at some South Asian texts.
We see them taming kings, demons and blood.
Fighters, there's also this interesting look, a test for a connexion with which will come out in the South Asian text as well.
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.
And he says, OK, let me just go to some poetry and tape, and I'm sorry.
Samantha in Saurashtra and tame one one last being in the sort of harsh, hard knock way.
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.
Not the eye. I believe it's at Soma, not the.
But at the end he dissolves into a stone image. All of these.
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.
Boutrous Review Rapture View Qatar.
We see the introduction of a very, very, very important set of motifs that sort of define actually many of the South Asian texts.
And this is this introduction of the idea of the Great Sin, the Maha Pop,
particularly incest in a number of of the South Asian texts, as well as some of the Tibetans.
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.
Also, alcohol, cow killing Brahman aside as well. I also would like to sort of make a shout out here to silks.
Twenty five work on incest in Buddhist in the Buddhist literary tradition, which has been a huge help in my research.
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,
but I would at least like to sort of make an aside there.
So having this, having committed maternal incest and these other horrible, horrible crimes, he seeks a guru in order to cleanse his sense.
And in this case, in this case, he finds Jalandhar and another set of Buddhists, or Siddall, enumerated in Buddhist lists.
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.
Now remember this this name of this site. This is important for one of the South Asian texts that we'll look at later.
Donald Dhara gives him instruction on Virgilio Geeni as Chinamasa again.
Here we have some connexion with extant texts associate with Europe and China Master.
He throws away his rosary discouraged island diary inspires him.
He has a vision of androgyny, tamed kings and blood sacrifices.
And of course, we have the contextual connexion again.
So here, although we see the introduction of this important incest motif that after the sort of 14th century,
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.
The 12th century sources like Abyei thought does drop a Yeltsin's and pockmarked troopers.
That is like the throwing of the rosary that becoming discouraged, etc. in in the Torah, not this text.
Again, we have the similar sort of incest narrative, but split between the Yoruba and Karlovy Yoruba, which is supposedly a disciple of Yoruba.
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.
I'm going to go a little bit quicker here so we can get through all the content.
And finally, in the last Tibetan texts that we're going to look at here, that is the blue channels.
We see this interesting story about an Arab party or an ala putra, so an associate with the Mogga Pasha lineage above.
Look where we see this great sin motif. He accidentally killed or accidentally kills his mother meditates on a mogul.
Pasha drops his rosary and discouragement. A visionary inspires him.
And this figure is said to go on to become a guru of Yoruba.
So we have similar kind of narratives being associated, both with a supposed guru of Yoruba as well as a disciple of the Yoruba.
A little aside, voodoo parka and error are both. Both appear in the poly canon as names of snakes.
So there. Is that a coincidence or is there some association or mis naming in the blue annals of aeropuerto or ala Patras,
as Voodoo said, sort of getting that mixed up? I don't know.
Now, some of the geographical sites mentioned in the in the Tibetan texts are important because we see at these exact same sites,
actually, we see some or many of these sites are the precise sites where we see narratives being produced about Voodoo Paksha.
So we have sites like Sri Silom, Maharashtra, Odisha, Totally or Kadry and the Konkan.
So we had Condola in one text, Tibetan texts, we had Konkona and another Tibetan text and of course, cuddly.
And the Konkan are important sites of of EuropaCorp, the narrative production.
So from our rostro, we have these two monobob text, the Leelah.
A treaty on the future part now we don't see the incest motif in this text, but we see this.
He is said to be a great teacher of the knot pond. We see him destroying the Lingam at Drops drama.
He meets Go Rocks on his way to Solman North and South Rostro, which are exactly like in the Tibetan narratives.
There's the scene of this competition with Gau Raksha, where a goat upshaws body is hit with a sword,
but the sword is sort of passes through it, whereas when your partner's body is hit with a sword, it's hard.
And there's this association between this kind of pun on the Vajra Chi and the Bhadra or leave you, Rupert,
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.
And so because of this scene, God actually initiates him under the name a Dundee,
not which Dundee meaning firms so meaning like, oh, after being initiated by Gracia, he's no longer firm in that inferior way.
But this could also be a sort of double entendre, as Dundee can mean hardy or even sexually aroused.
So Mallinson has pointed to this Oli Amarula connexion also maybe referring not just to the Vajra and Shiva associations,
but also the celibate and non celibate version.
He tames kings, et cetera, in the in another South Asian text, this one from Sri Shalem.
That is the nub, not the true trauma. He is counted amongst one of not those the nine knots he's born in Maharashtra.
He eats a bird's heart that grant sisterhood. Here's that bird eating motif again.
Heavenly Voice confirms his life story to Mina.
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.
So here we see this incest motif again, and he becomes a disciple of Europa.
Also, this text directly attributes attack is the says.
The bureau publishes the author of a text called the Amrita Canyon City, which assembly as the emirate.
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.
Some had thought this is a Odia or old audio text found published in Bunzel.
Siddharth Mohan. These work the the not literature and tradition of Odisha.
So in this case, the tale is narrated by Charleine Dara a.k.a Hardy PA.
It's prophesied that Paksha will commit these great sins, and it goes on to be true.
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,
who initiates him with the name of Guru Paksha because he's said to be born from a Brahmin mother and a Sugiura father.
He has a god who travels all around and has a vision of the Goddess Hen Geula or
Ganguly Mata and receive the Brahma Thunder and a Vadra hat from Brahma and Indra.
This notion of this hat is kind of interesting and also comes up in time,
not this seven transmission lineage tax this idea that he has a hat or a budget hobby.
I'm not exactly sure, but it sort of seems to be a common theme.
He's told that he will break idols merely by bowing to them again.
This seems to be a similar similarity with this idea of breaking the Lingam at Drops Rama by prostrating.
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.
And importantly, he rejoins Guereca and McKendry in Kudla, etc. This is again that same place.
Come believe that we saw or Konkona in the Tibetan texts, the Brahmins rebuke and expel him from charge.
Poor for drinking alcohol. Again, this alcohol drinking motif. And he reverses a river again instead of the Ganga.
This time we have the biotronik, which is in Odisha. I would.
I would like to say that these Odia texts and audio letter in general,
general requires or demands or warrants much, much more attention within South Asian studies.
So please, please, please study audio. Now, another text that I would bet is not on mountain.
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.
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.
So I've even had Tibetans here in Nepal say that actually the place where the Yoruba
broke the lingam and then dissolves into a dissolves into a stone image is actually not.
It's so monotonous or Rashtra, but it's actually here at Pottery Party.
Not so in these and these Nepali versions, which are contained in a number of bomb.
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.
Called the Bureau of Toxic Qatar similar to the Bureau of De-clutter that we saw from Sri Putra.
So in this again, we have this prophecy that he will create it, commit great sin, including incest, which he does.
He first published Shiva for expiation, but Sheba's advice nearly kills him.
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.
He does so, but multiple times throws his rosary down in discouragement because he's not having signs of accomplishment.
But each time a visionary inspires him again, very akin to the Tibetan stories.
Finally, he achieved city cities, and with his newfound powers,
he grows around breaking Lin gums all over the place in retaliation for the bad advice that he received from Shiva.
Again, the linga breaking motif he goes to break the linga at Posture Party,
not but shiva Sikhs Obligatoires Protection of Look, etc. gives Shiva his five Buddha crown.
And when reporting that Shiva is reporting, that puts on the crown. When Roopa gets there,
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.
I would like to say that actually the story of of view Rupa the scaring shiva into taking refuge in uBlock,
etc. is the source of a number of religious holidays and festivals here in Kathmandu, including the Muk, Me and the local Mahatir.
Look at me, Mahajan, Sari Nehwal speakers. I'm butchering that.
And here he's associated with the UPA shadow brother and a Moga Pasha.
I've looked very much like the association with this ala patra figure of being associated with a Mogga Pasha as well.
And finally, in the name in these Nepali versions, he stops the Sun in order to continue worshipping, eating and drinking at Pashtu Party.
So we see a number of similar similar motifs.
And finally, he's said to reside or dissolve into a stone image at pottery party.
Not very similar to the story at some asari soma nata.
This image that we have here is actually the Bureau Paksha statue at Posh Party.
Not finally, the last South-Asian text that I'd like to talk about is the three cuddly Manju, not the Mahatma.
So remember all of those references to Billy Connolly and the Konkona?
Well, here we have another Viru pop shuttle coming out of the related to the cuddly or Kadry Mandarin, not temple in Mangalore,
which of course, as Mallinson, a number of their scholars have pointed out, was a Buddhist v hara turned Buddhist.
So I turned to not the temple turned Vishnu of a temple.
So in this text, this is sort of the most Orthodox, but a monocle of the of the South Asian voodoo Apotex.
He's counted amongst the nave, not those in this particular text.
He's born a perfect three eyed Brahman, which is in part the poor carried in Maharashtra.
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.
But he says that he gives a prophecy that it'll be a little tame people using magical illusions.
He's frequently referred to as the Lord of the Konkan.
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,
and this may, of course, be zero Berkshire, but of course, could be a number of other cities associated with the Konkan.
But the fact that in this text he's called the Lord of the Conquered he is the continent could be a hint.
There we see the extensive travel motif he goes to three Silom him about Kalinga, the land in the Indra direction,
which is a similar motif from the Tibetan texts going in in the direction of Indra,
Joxer, Rama country, etc. He carries a skullcap filled with Moon that dirty tames demons, eye drops Arama instead of splitting the linga.
Because for a sort of orthodox from Monocle Tech, splitting the linga might be just a little bit too extreme.
So instead, he rebukes the Brahmins there as not being Brahmin enough for not being correct.
Brahmins This is the sort of the Brahmin double kind of the good Brahmin bad Brahmin situation.
He takes the form of an overdue there and admonishes the Brahmins and causes a cat to recite the Vedas to show that look,
just reciting the Vedas enough isn't enough to, you know, be considered a good Brahmin.
You've got to do all the other, the other good stuff, too.
And there's also this alcohol and women cavorting with women motifs instead of stopping the sun in the sky.
Mallinson, as pointed out the similarity here,
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.
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,
Nepal and across South Asia contain many of the same kinds of scenes, themes, motifs, etc.
So now with that in mind, now that we can say the Yoruba is the POC show, right?
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.
So Munoz presents this idea of the three fold not canon as being being constituted of hot yoga treatises in Sanskrit,
poetry in vernacular languages and Haig geographical narratives.
However, recently, as scholars like Jamal Jones, who happens to be one of my advisors shout out to Jamal,
he has challenged the idea of what should actually be called not literature,
as many of the narratives about not cities are not written by or for nots.
We have mob on kabobs and arteries in Maharashtra. We have Veera shavers and she style them.
We have so-called about device numbers in Odisha.
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.
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?
Not right? It's a little bit more complicated than that. Even though still the above three categories,
the threefold not can in those categories perfectly are perfectly mirrored in the case of Yoruba literature,
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.
We have Doha's and Ghitis in vernacular languages. We also have the number of hagiographic texts that we've looked at.
However, the the only issue here is that only a few texts in the Yoruba corpus can really be called knock texts.
So even though it fits the three fold part, the non-canon part is a little bit tricky.
As such, this sectarian model of a not can in risk perpetuating the kinds of habitual under appreciation
of Buddhist and Tibetan sources that has characterised much of the relevant research.
I'm near completion here. I assume we're probably getting close on time problem enticing the not can and just a little bit
further the sectarian parameters determining what and not even is in the first place are fluid,
contested, ever shifting and highly localised region by region.
For instance, there are reports of Buddhist knots or not self-identifying as Buddhists well into the
early period attested in the works of Tibetans like drinking and drinking orange and talks,
talks about Kumba, draw, Tara Nata and others.
Unfortunately, that the few Tibet ologist who do discuss such so-called Buddhist knots usually dismiss them outright,
often portraying them as opportunistic charlatans intent on duping ignorant Tibetans.
Even DeMint David Templeman, who's been extremely helpful for my own research.
Who and who has written extensively on late,
but it's not tends to characterise them as these sort of dubious pseudo Buddhists who bring nothing new to the Buddhist fold.
But I argue that the very existence of knots claiming to be Buddhist and producing Buddhist literature that contains
reference and and meditation manuals on Buddhist deities like Buddha Topiwala well into the early modern period,
is in itself definitely, very definitely something new and a novel contribution and and warrants further,
further analysis for a more thorough rebuttal of such dismissals of these Buddhist knots,
I would like to refer you to McKeon's to a 2018 book Guardian of a Dying Planet Flame,
which is from where I found the show Putra Viru Viru POCSO Text.
He does a very good job in his introduction of refuting some of these dismissals of.
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.
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,
and if the concept of a sectarian knot can and risk further perpetuating the underappreciated
appreciation a valuable not consider literature outside those imagined sectarian boundaries,
then an alternative category is obvious, then sorely needed.
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,
and towards the more shared notion of the SED that in this way, such a model, I argue,
is more accommodating of the diverse cross-sectarian and dialogic nature of this literature.
I sort of so I sort of started with a call to arms for Tibet apologists to engage more actively with yoga studies.
So what does this whole narrative logical rigamarole have to do with yoga studies that we've really just been talking so much about?
Hagiography is a narrative literature. Well, assessing the place of narrative literature in this sort of sharing substratum versus
borrowing debate about Buddhist Hindu exchange and following scholars like Appleton,
there's this idea that narrative literature creates a shared dialogic space.
Perhaps we can even call it something like a shared substratum that challenges the
staunchly sectarian basis of strict the strictly of the strict borrowing model.
I also sort of want to investigate how the dialogic nature of narrative literature allows characters and stories to cross sectarian boundaries,
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.
In other words, studying and investigating the way that vroom,
vroom and voodoo popular stories transcend and cross these kind of sectarian boundaries also
shines a light on some of the same ways that that the practises associated with them in this case,
hot yoga, also cross those same boundaries. The place of Yoruba narrative production, as I said before Tibet, Nepal, East India through Silom,
Kadri Mangalore tend to be the same key sites of hot yoga propagation and Buddhist Hindu exchange.
So with that, I would like to start end by saying thank you and open it up to questions.