- Author Hidayat Inayat-Khan
The many various types of Sufi activities in which Murshid was involved, differed very much, according to the diversity of circumstances experienced within the frame-work of the great number of centers, which were visited all throughout the year.
During the summer months, however, Murshid was practically always at home; and he could therefore arrange his daily schedule more conveniently than during other periods in the year, when his time was so very tightly limited by the various obligations to which he was committed in the work for the spreading of the Message.
When Murshid was at home in Fazal Manzil. the ’Home of blessings’, his daily schedule was approximately as follows: The early morning hours started, for instance, with physical exercises, and of course with the purification breaths and the advanced pranayama practices, besides also fikar, kasab and shagal.
After a small breakfast, Murshid sat at the piano, accompanying himself, while doing vocal exercises, and singing several different Ragas. He also emphasised the specific rhythms of the Talas with the help of a Tabla, or sometimes just with the clapping of the hand. One of the most usual Tales was for instance the following one: DA DA DIN ТА -T1KA DA DIN ТА — TIKA TAKA GAGI DIN ТА — DA DA DIN ТА.
When asked to explain the secret value of vocal techniques, Murshid told us that singing is in fact a most powerful breathing exercise, both physically and spiritually. Seen from a physical point of view, it is obvious that more breathing discipline is required than even with esoteric breathing practices. Besides this, the inhaled air is channelled at the level of the different chakras, before finally reaching in the direction of the vocal chords, and then out through the mouth as in the purification breaths.
Seen form a spiritual point of view, the voice carries away, along with its flow of sound, the negative vibrations of the ego; whereas in turn, the Divine Prana of the Universe is being inhaled in charges of magnetism, radiating in all the chakras of the singer.
Murshid also played sometimes on the Vina, in the morning, after his vocal exercises, in order to keep his fingers and his voice in practice, as he always said; although, very unfortunately, he hardly had any time to play to an audience during the last years.
Later in the mornings, Murshid gave interviews for about two hours or more; and in the afternoons, he gave lectures, mureeds’ classes, and occasionally also initiations, or special committee meetings to which the National Representatives were invited. Many hours were also spent in dictating inner teachings and sayings.
In the evenings, there were either collective interviews or higher classes specially given to senior mureeds, in Murshid’s Oriental Doom. Many of these teachings have never been written down, and are therefore not available. However, some important indications like those regarding more advanced esoteric practices, such as the very fast rotating Zikar, as well as indications concerning the kasab, shagal and amal practices, were carefully noted by Murshid himself in his very private not-book.
At the end to the day, Murshid gathered his family around him in the large room of Fazal Manzil, where all together in unison recited the three prayers, "Saum, Salat and Khatum, with movements.
After the prayers, we all sat cross-legged on the floor, and chanted together the four singing Zikars, with the rotation movement; making a short pause between each one of the four variations of Murshid’s specific Zikar raga.
A gong was utilized to emphasise the rhythmic pattern; whereas the voices were attuned to and Indian hand-organ or to a tuning fork.