The Way to Shambhala…
The Way to Shambhala…
By Edwin Bernbaum
Published by Anchor Book/Doubleday, New York 1980
This book is a classic for anyone interested in adventure, mythology and spiritual development. Written by Edwin Bernbaum who while teaching in the Peace Corps in Nepal in the mid-late seventies studied Tibetan religion, mythology and art and became interested in Shambhala – a mythical kingdom somewhere beyond the snow mountains north of the Himalayas.
“For centuries the people of Tibet and Mongolia have believed in the existence of Shambhala where a line of enlightened kings is said to be guarding the highest wisdom for a time when all spiritual values in the world outside will be lost in war and destruction. Then, according to prophecy, a great king will come out of this sanctuary to defeat the forces of evil and establish a golden age.
“Drawing on Tibetan and Sanskrit texts, interviews with lamas in Nepal and India, and his own experiences in the Himalayas, Edwin Bernbaum gives a detailed account of this fascination tradition, examining its basis in religion and history and its connection to the archetypal myths that have influenced both Eastern and Western cultures. As he explores the myth of Shambhala, showing how it symbolises an inner, spiritual journey to enlightenment, Bernbaum leads the reader through the actual terrain of the Himalayas, the mist-filled valleys and snow-covered peaks that have helped to inspire the idea of a mysterious sanctuary hidden in the remote mountains of Central Asia.
When filming in the Himis Monastery in Ladakh in the mid eighties we had the opportunity to visit the head lama. After speaking quietly with him and an interpreter for an hour he asked if we had any questions. I asked him, “where is Shambhala?” He waved his hands in a northward direction and indicated it was beyond the Himalayas, somewhere in the Gobi Desert region.

“Something hidden. Go and find it. Go and look behind the Ranges -
Something lost behind the Ranges. Lost and waiting to be found. Go!”
Rudyard Kipling
“Behind the ice walls of the Himalayas lie the empty deserts and remote mountains of Cental Asia. There, blown clear of habitation by the harsh winds of high altitude, the plateau of Tibet extends north over thousands of square miles up to the Kunluns, a range of unexplored peaks longer than the Himalayas and nearly as high. Beyond its little known valleys are two of the most barren deserts in the world; the Taklan Makan and the Gobi. Sparsely populated and cut off by geographical and political barriers, this vast region remains the most mysterious part of Asia, an empty immensity in which almost anything could be lost and waiting to be found.”
Edwin Bernbaum
Although there are differing opinions as to where Shambhala actually is, the lamas all agree that it is a place of majestic beauty. They are more specific about the kingdom itself and give a remarkably clear and detailed picture of it. According to their descriptions, a great ring of snow mountains glistening with ice completely surrounds Shambhala and keeps out all those not fit to enter. The texts imply that one can cross the snow mountains only by flying over them, but the lamas point out that this must be done through spiritual powers and not by material means.
The inhabitants of the kingdom live in peace and harmony, free of sickness and hunger. They all have a healthy appearance, with beautiful features, and wear graceful robes of white cloth. They speak a sacred language and all have great wealth but never have to use it. Tibetans have, in fact, taken the Sanskrit name Shambhala to mean “the source of happiness.”
Many Tibetans insist on the necessity of purifying the mind in order to go to Shambhala. Most forms of meditation used for this purpose tend to cut off, or silence, the habitual thoughts and preconceptions that block the kind of mystic vision, the vision that may actually penetrate into other worlds as solid and as concrete as ours. By clarifying his mind in this way, ridding himself of the mental conditioning that limits his awareness, the traveller to Shambhala may be gaining the ability to see into the fourth dimension and take an actual journey through a strange, but real, landscape of fantastic deserts and mountains that lie parallel to the ones we find on maps of Central Asia.
If the high lamas of Tibet consider this majestic paradise to be symbolic then a powerful symbol like Shambhala can do more than stand for some hidden truth or aspect of reality; it can also act as a window that opens up a view of something beyond itself.
Maybe the “hidden valley” exists in the inner consciousness of the mind, reached only through the practise of disciplined meditation. According to one high priest, reaching Shambhala mentally means that one has reached the innermost mind locked in the heart centre. According to prophecy, the future king of Shambhala will come not only to deliver the world from the external tyranny, but also to liberate its inhabitants from the internal bondage of their own delusions. The main purpose of the final battle and the golden age is to bring about the conditions and teachings needed to attain enlightenment, to help people awaken the innermost mind and know the true nature of reality.
The prophecy implies that the solution of the world’s problems will come from an inner source hidden within each of us. Some of these myths exert a considerable influence on our lives, affecting not only what happens to us as individuals, but also what happens to society and the course of history itself…..the modern myth of progress…..the conviction that science and industry will transform the earth into a material paradise and establish a golden age of prosperity for all. This conviction lies behind much of the push for social reform and economic development that now determines the policies, as well as the fate, of governments throughout the world, regardless of their particular ideology. The myth of progress seems in fact, to have led us into the degenerate period of materialism that is supposed to precede the golden age of Shambhala.
We have come to this quandary in large part because we have lost sight of the inner side of the myth of progress. In striving to create an earthly paradise, we have overlooked the needs and nature of those who must live in it. A fascination with the problem of ever increasing material prosperity has led us to develop a one sided view of the myth that emphasises external progress at the expense of inner development…
We need to recover a balance and perspective that will enable us to use, rather than be used by, the power of the myth of progress. The kind of insights we have gleaned from the Tibetan myth of Shambhala may be able to help us do this by redirecting our attention toward the inner meaning of the myths that shape our lives. We may even be able to use the myths of progress itself as a symbol to awaken the deeper mind and liberate ourselves from the bondage of our illusions.
Ultimately, however, each one of us needs to find and seek his own equivalent of Shambhala, that place, thing, person, or even idea that has the power to inspire us to take the inner journey to greater freedom and awareness. The myth of Shambhala is meant to encourage us to find a form of our own that reveals, rather than replaces, the essence of the kingdom itself.
In seeking the essence of Shambhala through whichever form we find to be ours, we come to realise that it lies hidden right here in the world around us. This realisation opens us to a growing sense of the sacred in everything we see. People and things that we had regarded with scorn or indifference becomes sources of wonder and awe. As we become aware of the sacred nature of all that surrounds us, we cease to see people and things to be abused and exploited. We come, instead, to cherish them for what they are, and to treat them with the utmost care and respect. If we can awaken this sense of the sacred in the world around us, then we may have a chance of bringing about the golden age of so many myths and dreams.
Only exaltation of spirit
Enables one to cross the radiant bridge
Let each one who is illumined by spirit
Walk boldly into the temple
Tibet2Timbuk2 – Concert review
The small crowd gathered in the foyer of the Bellingen Theatre, beneath photographs of Tibet and Timbuktu and images of the Dogon people, from Mali in North Africa. The watching eye of a golden Buddha head, Tibetan flags and homemade pastries helped set the scene for a night of transcendental music by classical Japanese flautist, Taro Terahara, and the fusion of Tibetan and North African rhythms from the band Tibet2Timbukt2.
The opening mantra from the exquisite voice of Yuki Tasogare, who played the tambura, along with Shen Flindell on tabla, formed a beautiful and unforgettable introduction to the evening. Her classical mantra set the tone for what was to become, not so much a performance by highly talented artists, but more a meditation that would be remembered long after the evening finished.
Following Tasogare’s delicate subtle chanting, classical flautist Taro Terahara performed what surely was one of the longest flute recitals of all time, producing a melodic and haunting sound that echoed to the deepest reaches of the mind. Taro has had many years of yoga training, which enables him to play the flute with such precision and beauty. His recital required a deep concentration on the breath – only a yogi with years of training and meditation could hold notes to such a degree of perfection. The ebb and flow of his breath and the sounds that followed transported the audience to a place beyond their normal day to day ponderings – to a state of deep meditation – where the mind resonates to the sounds of other worlds, far beyond the mountains of Tibet.
An intermission of chai and sweet chocolate macadamia brownies brought everyone back to earth, accompanied by an on-screen display of wonderful images of the Sahara Desert, the Dogon people in Mali and the sacred Mount Kailas in Tibet. When we resumed our seats, the performance of Tibet2Timbuktu2 began with a fusion of the best music from both worlds.
The band members Tenzin Choegyal, Marcello Milani, Shen Findell and Taro Terahara were in perfect harmony with each other, joking in a relaxed way about Karma and Lamas. Tenzing Choegyal, the lead singer, sang with such control and strength it was as if he was calling the spirit of Tibet into our presence. His voice was powerful and vibrant. In a spontaneous moment, Shen Findell, the tabla player, suggested to Tensing Choegyal that he might like to perform a tune he did some years ago in Japan, when he first met Taro Terahara. At first he seemed a little confused, as though he wasn’t sure – then, in a precise moment, he had the flute to his lips; for around 10 seconds, in absolute silence from the stage and audience, with one deep breath he sounded a note of such high key and beauty that he instantly transported everyone to a heightened state. It was almost as if Tenzin Choegyal was channelling this music from a master flautist somewhere in the mountains of Tibet. Along with the classical sound of Taro Terahara, they formed what was, for most in the audience, an exceptional musical experience. This unrehearsed flute recital was the highlight of the performance and, I’m sure, redefined the concept of flute music for an appreciative audience.
The evening ended with a Tibetan chant. The audience were asked to join in with the words “OM MANI PADME OM” – “the jewel in the lotus”. Softly they began the mantra, sounding it over and over, ending the show on a blissful note. An evening not to be forgotten.
Awesome power, absolutely beautiful film – Teahupo’o
“This day at Teahupoo – Aug 27th 2011 during the Billabong Pro waiting period is what many are calling the biggest and gnarliest Teahupoo ever ridden. Chris Bryan was fortunate enough to be there working for Billabong on a day that will go down in the history of big wave surfing. The French Navy labeled this day a double code red prohibiting and threatening to arrest anyone that entered the water.
Kelly Slater described the day by saying “witnessing this was a draining feeling being terrified for other people’s lives all day long, it’s life or death. Letting go of that rope one time can change your life and not many people will ever experience that in their life.”
All images where shot by Chris Bryan using the Phantom HD Gold camera. To see more of Chris’ work check out his website www.chrisbryanfilms.com
Music: ‘Lower Your Eyelids to Die with the Sun’ by M83
Light waves…
Surfing a few days ago, on that dream Christmas – New Year swell, at a beautiful little bay sheltered from the south west breeze and surrounded by national parks and grassy slopes covered in wildflowers, with a white glow coming from the early morning glass faces, I was reminded of…
There’s a scene in the opening of Andrew Kidman’s Glass Love, of Daize Shayne surfing a longboard through a blaze of light, that is so intense that, for a moment, she completely disappears – and then emerges on the other side to continue riding the wave. She is drifting – floating – the surfboard just a vehicle to transport her to an ethereal world. In the early morning light it can be like that sometimes. The brightness can be so intense that, after a while, it will burn out all colour, leaving just a blaze of whiteness. Andrew sent me a photograph of Daize soon after the film came out – it is a constant reminder of the incredible aesthetics in surfing. It captures perfectly the formless, in a metaphysical sense, and is a reminder that behind every form is light.
Glass Love
“In the film I wanted to feature the generational link and love of surfing that gets passed down through families, in particular the Curren and Purchase families. The sons are surfers and their fathers are surfers/shapers. It was nice to peek in on a small part of their relationships and how surfing makes them special. This, and the continued experimentation with board design, were the highlights for me in making this film.”
Andrew Kidman

Surfboards I am Loving – Andrew Kidman
Andrew Kidman lives near Mount Warning, on the far north coast of New South Wales. He has a three hundred and sixty degree view of the hinterland surrounding the mountain. It is one of the most picturesque sights on the entire coast and one that you will never get tired of looking at. The mountain is on the western outlook of the house and the late afternoon and early evening colours leave a lasting impression. On a moonless night, the grand Milky Way overshadows the house and the constellations are clearly visible. All is quiet and peaceful, with only the sounds of nature to be heard. You couldn’t ask for a nicer place to live.
When you walk inside the house there is an array of colourful surfboards in racks against the wall. Boards of all sizes and descriptions, with a history that could fill a book. Some he’s made himself, others are from friends and surfers who are close to him. They are all works of art. Made with love, they are filled with memories and energies of great waves and beautiful days. And like all works of great art, they are inspiring.
Here are a few photos and technical details for the boards….




Lost in the Ether
Riding Michael Peterson’s board on a shallow Northern New South Wales boulder point…
“I was nervous pulling into this tube. As the wave moved onto the bank, the bottom dropped out of the barrel. The board could easily have broken as it only has a glue stringer. These frame grabs from Lost in the Ether were taken from footage shot by Steve Sherer.”
Andrew Kidman
More on Andrew and Lost in the Ether film & book…
www.andrewkidman.com
Blue Sway – a film by Jack McCoy


Jack loves photographing waves so much so that a few years back at Teahupo’o he was swimming dangerously close to the reef in the water filming Andy Irons. A set loomed and Andy dropped in on a moderately big wave – “moderately” being large in most surfers reference frame….. with his focus on Andy, the wave pulled back off the reef and then when it exploded took Jack over – camera and all – with it. He hit the reef, got heavily wacked on the head – fortunately he was wearing a helmet – and dragged over the reef. In a semi-conscious state, he said later, that he was enjoying the sensation so much that he wanted to stay there. Realising that he was on the verge of unconsciousness he pulled himself back around and eventually came up on the shallow reef. In a dazed state and standing in waist deep water another bomb wave drained off the reef and exploded on top of him. He was dragged along the reef for a hundred meters and eventually pulled on board a jet ski. Five minutes later he passed out and was unconsciousness for thirty minutes.
Most people after an experience like that would probably not return to the ocean. Jack did – many times – and continued his exploratory techniques of filming the beautiful waves of Teahupo’o and Tahiti. A few years ago he designed an underwater propeller driven torpedo-shaped platform to support his camera and continued to test and film the beautiful waves and surfing in Tahiti.

Jack’s footage caught the attention of Paul McCartney and the result is the clip Blue Sway below.
McCartney’s music – with a beautiful string orchestra backing – combined with Jack’s amazing images have created an exceptionally beautiful creative masterpiece of space and sound.
More on Jack…
http://adeepershadeofblue.com
The Beauty of Louis Schwartzberg
Nature’s beauty can be easily missed — but not through Louis Schwartzberg’s lens. His stunning time-lapse photography, accompanied by powerful words from Benedictine monk David Steindl-Rast, serves as a meditation on being grateful for every day.
From TEDX San Francisco, filmed June 2011
His new film “Wings of Life” will be released by Disneynature.
“The secret lives of bats, butterflies, hummingbirds, and bumblebees come to life before our eyes as Schwartzberg and his talented team highlight how the determination and interdependence of these diminutive creatures somehow keep our chaotic world in balance.”
Jason Buchanan, Rovi
Schwartzberg founded Moving Art to use the power of media to inspire and entertain through film.

The Reverend D. Hunt from Babylon on the line…

The call came in at 5:30 AM, “hey Alb, it’s pumping” – music to my ears. It was the fifth day of the swell. The first was 10-12 feet – big and stormy, the second big with plenty of push and rips, the third cleaner with an off-shore breeze and more manageable, the fourth six feet and perfect, the fifth super clean and three to five feet on the sets.
Drove down along the back roads through flat grazing territory past rivers filled with the early morning bird life, mountains in the distance were sharp with a light westerly clearing the early morning haze. Past horses grazing, cows meandering, signs with homemade jams for sale and honesty boxes to collect the money. Old farms – sleepy vibe – no cars….. it could’ve been the seventies – not much had changed. There was a crispness in the air – almost a touch of autumn; an unseasonable southwesterly breeze was fanning the morning trees ….. and waves. It was the middle of summer and the surf was perfect. No better way to start the day.
The first person on the radar screen when we pull in was the Reverend D. Hunt from Babylon, he greeted us with a smile from ear to ear – one he carries permanently, “Don’t you just love it, don’t you just love it” – he wraps his arms around us, “let me feel your love”. We wax up and walk over a grassy headland covered with wild flowers along a track that would have to be one of the best walk outs in the world – The Reverend is foaming…we all are. The sets pull around the point like Currumbin without the crowds….. no car park or houses here – just wide open space and pure natural beauty. The ocean is like crystal….. the waves paper thin….. we couldn’t have been in a more perfect space.
Gratitude was flowing in abundance as we launched off the rocks and into a beautiful temperate ocean so clear you could see the grains of sand below. The Reverend took off on his alaia, sounding what was to become the mantra of the day, “don’t you just love it”. We rolled around hysterically in a state of bliss and rode wave after wave giving thanks for our good fortune and being in one of the most incredibly beautiful bays along the east coast.

The low had moved down from Queensland slowly and with the easterly swell laid its bounty on every point along the coast down to Newcastle. If you listened carefully you could hear the cries of delight from all over.
It was just another one of those days…..
Don’t you just love them…..
Photos by Jack McCoy and Robyn Wren
A Day in the Life of India
When filming a series of religious festivals in India in the mid-eighties I would often wander the streets at night around the time of the full moon, listening to the sounds of chanting from nearby temples. There is always more temple activity during this time, with most of the population asleep and the stifling daytime temperatures a little less intense, it was another view of India that most people wouldn’t see or hear. During the days with the millions of people all active – the sound levels were intense – however around midnight that had all settled and the peacefulness allowed for a different note to be heard.
Wandering through the streets day or night – there is always some activity and India is the land of temples. You could follow the sounds of chanting and find yourself in a temple with a group of people all playing music and chanting. The harmonious resonance was magnetic and under a full moon in the stillness of the night and the aromas of incense and herbs – it was captivating. On one occasion I met an old aristocratic man who spoke with a clear and soft tone. He was chanting along with a small group. I stayed in the temple for a few hours drifting into a meditative state then he asked if I would like to come to his house and meet his family and have some chai. We quietly walked to his house in the pre-dawn hours and his wife prepared some chai and sweets for us. Afterwards he excused himself and disappeared for a few minutes and returned carrying a large case which he put gently down on a rug on the floor between us. Without saying anything we finished our chai and then he opened the magic case to reveal the most beautiful sitar – made for a king. With reverence he gently and carefully removed the instrument from its case and proceeded to play.
Over the next hour and through the sunrise he played classic tunes for us. Together, in a heightened aural and visual experience, we watched the room turn gold as the first rays of the sun penetrated his window and flooded the room with light. This classical master sitar player left a resonance that stays with me to this day. Even though our paths crossed for the briefest time, that beautiful moment stays – his music came from and returned to a different space but for a moment its vibration and pure essence gave beauty to the sunrise and prepared the day for those yet to awake from their dream state and move into another day in the life of India.

















