process of enjoyment and the resulting feeling of well-being before, during, and after the experience. Vatsyayana, the author of the Kamasutra, describes kama as happiness that is a manasa vyapara (phenomenon of the mind). Just like the Mahabharata, Vatsyayana's Kamasutra defines kama as pleasure an individual experiences from the world, with one or more senses: hearing, seeing, tasting, smelling, and feeling—in harmony with one's mind and soul. Experiencing harmonious music is kama, as is being inspired by natural beauty, the aesthetic appreciation of a work of art, and admiring with joy something created by another human being. Kama Sutra, in its discourse on kama, describes many forms of art, dance, and music, along with sex, as the means to pleasure and enjoyment. Pleasure enhances one's appreciation of incense, candles, music, scented oil, yoga stretching and meditation, and the experience of the heart chakra. Negativity, doubt and hesitation block the heart chakra, openness is impaired while attached to desires. Kamala in the heart chakra, is considered to be a seat of devotional worship. Opening the heart chakra is awareness of a divine communion and joy for communion with deities and the self (atman). John Lochtefeld explains kama as desire, noting that it often refers to sexual desire in contemporary literature, but in ancient Indian literature kāma includes any kind of attraction and pleasure such as those deriving from the arts. Karl Potter describes kama as an attitude and capacity. A little girl who hugs her teddy bear with a smile is experiencing kama, as are two lovers in embrace. During these experiences, the person connects and identifies the beloved as part of oneself and feels more complete, fulfilled, and whole by experiencing that connection and nearness. This, in the Indian perspective, is kāma. Hindery notes the inconsistent and diverse expositions of kama in various ancient texts of India. Some texts, such as the Epic Ramayana, paint kama through the desire of Rama for Sita — a desire that transcends the physical and marital into a love that is spiritual, and something that gives Rama his meaning of life, his reason to live. Sita and Rama both frequently express their unwillingness and inability to live without the other. This romantic and spiritual view of kama in the Ramayana by Valmiki is quite different, claim Hindery and others, than the normative and dry description of kama in the law codes of smriti by