Samding Dorje Phagmo Songs of realization, or Songs of Experience (Tibetan: ཉམས་མགུར, Wylie: nyams mgur; Devanāgarī: दोहा; Romanized Sanskrit: Dohā; Oriya: ପଦ), are sung poetry forms characteristic of the tantric movement in both Vajrayana Buddhism and in Hinduism.
According to Roger Jackson, caryagiti and vajragiti "differ generically from dohās because of their different context and function"; the doha being primarily spiritual aphorisms expressed in the form of rhyming couplets whilst caryagiti are stand-alone performance songs and vajragiti are songs that can only be understood in the context of a ganachakra or tantric feast.
[2] Although many of the songs of realization date from the mahasiddha of India, the tradition of composing mystical songs continued to be practiced by tantric adepts in later times and examples of spontaneously composed verses by Tibetan lamas exist up to the present day, an example being Khenpo Tsultrim Gyamtso Rinpoche.
The revelers may also improvise "songs of realization" (caryagiti) to express their heightened clarity and blissful raptures in spontaneous verse.
Ann Waldman describes this poetry form: the doha, a song of realization that acknowledges an encounter with a master teacher, traditionally a guru or lama, and explores a particular wisdom or teaching transmitted through a kind of call-and-response duet format.