Música e liberação através da escuta: histórias dos oitenta e quatro Mahāsiddhas, dohās e a Arte do Dharma de Chögyam Trungpa

Abstract

In the Stories of the Eighty-four Mahāsiddhas (Tib. grub thob brgyad bcu tsa bzhi’i lo rgyus), we see myriad reports of individuals who, through the meditation techniques of Vajrayāna Buddhism, integrated aspects of their own life circumstances into an inner path. These great adepts expressed their realisations through “spontaneous songs” (Skt. dohā; Tib. mgur), which form the compilation Vajra Songs: The Heart Realisations of the Eighty-four Mahāsiddhas (Tib. grub thob brgyad bcu rtogs pa’i snying po rdo rje’i glu), and to which the power to liberate through hearing is traditionally attributed. Upon observing the proposition of a Dharma Art by the Tibetan author and master Chögyam Trungpa (1939-1987), we see a symbiotic perspective between creative processes and meditation techniques, aiming towards a path of appreciation of the nature of reality in relation to art. By contemplating the cases where hearing, sound and music serve as specific means of transmission from master to disciple, and upon reflecting on the use of singing both as a way of introducing the nature of mind and an expression of spiritual realisation, a convergence between these notions and the sphere of artistic understanding proposed by Trungpa give rise to the observation of a potential singularity of hearing as a means of liberation, as well as its possible implications on music.