1987-07-12 Evening after Guru Puja, Shudy Camps, UK[After the concert – 1:45:57 ] 

Shri Mataji: We have to thank all of us, Debu Chaudhary who is one of us, who has played such divine music for the entertainment of our spirit.  I wish from here many of you take inspiration and go deep down into the arts that you know and develop beautiful things for the entertainment of our spirit.  May God bless him and may God bless Subhash who is such a good player and will come up very fast I am sure.  He has very delicate finger touches and I am sure he will have other dimensions to this instrument of tabla.  We have many types of tabla players, and everybody has some speciality and this one I am sure will play certain modes as they call it in the tabla, like “Chakardar” and “Dhirkat” and all that...  He is very good at all that.  May God bless him for that.

And professor Chaudhary - I shouldn’t call him professor; he is just Debu to Me.  But his speciality, I feel is more of composition, which he should take to - composition - because he really makes such beautiful compositions that I haven’t heard anybody making that beautiful compositions.  And if he can do those compositions one day all over the world, he will be known very well for all that because it touches your heart, the way he does his compositions.  They have asked Me to give a little token of your love, just a little bit for them and to ask for forgiveness if it is very little... so that we can express ourselves.  May God bless them, both of them.  And we all thank them from our hearts.

Let them have some tea... Helen, where are the children?  They are coming now?  Alright, thank you very much for coming. [some Hindi] [small discussion]This mic is alright.  Let him have it. 

Sir C.P: After this divine music, I am sure you are in no mood to listen to any speech and I am not making a speech at all ...I dare not ...and I do not wish to either but before taking leave, I did want to say how profoundly grateful I am to all of you for permitting me and my daughter and my granddaughters to be in the midst of this wonderful gathering.  When we came yesterday and I saw those divine expressions on your faces, I felt elevated.  In my childhood days, we used to hear of some stories of mythology.  We were told that sometimes from earth emits rays went to heaven and from heaven they came to earth, but on 21st March 1923, someone was born here on this earth to bring heaven to earth itself.

To be admitted to this heaven is a wonderful privilege, it’s a bliss, it’s an experience, which I shall always cherish.  I do want to thank you from the bottom of my heart, wish you the very best...  You have the very best, how can I wish you anything better?   All I can say is I pray you keep it up, spread the message, the world needs you... the world is in desperate trouble.   When I am here, I have hope.  Sometimes I do feel when I am not in this world - the world that I am here today in - I feel desperate, for the world is in trouble; so much strife, so much trouble.  But fortunately, I got transported to another world here today... Now to go back to that world is not easy!  But this evening I also want to thank Professor Debu Chaudhary.  My wife and I, we both made very special requests to him to play these wonderful ragas.  And this was, as your Mataji - I say your because you know how it is... She is my wife also!  Professor Chaudhary’s music was divine: it was pure nectar.  I thank him from the bottom of my heart and I will carry that [lilt?],that divinity with me back to earth.  Thank you all very much.

Sahaja Yogi (David Spiro): So, Sir C.P., if I may just say a very few words in reply to your very eloquent and very moving speech.  I’d just like to assure you, on behalf of all the Sahaja yogis who are gathered here, that not only did we feel honoured and privileged that you and the rest of the family came, but we were overjoyed that you were here this weekend to share these moments with us, and we hope in the future, that many such occasions will take place.  So, thank you very much for coming.  [Applause] And may I also, on behalf of all the Sahaja yogis, offer you our really, most sincere congratulations on the recent honour that was bestowed on you at Cardiff last week; the honorary Doctorate.  [Applause][small discussion]

Sahaja Yogi: We just have to change the stage setting...

Shri Mataji: We could have dinner now and then come back? Whatever you wish now...

Sahaja Yogi:  Mother, I wish You could see our show, but if You...

Shri Mataji:  No, I would love to see... I mean, I’m not hungry.

Sahaja Yogi: Alright Mother, but only it will take a few moments for us to get ready

(cut in video)

Shri Mataji:  [2:00:45[...who is the master of this art, and then he goes to the master and stays with the master .  And then the master teaches with different melodies, composed of different notes.  So these melodies are composed from... since long time; they are composed before the Vedas.  Because they have seen on the kundalini itself, because these are composed by the saints.  They have seen that the notes which are congenial to the rising of the kundalini, because there are seven notes as we have, in the same way there are seven chakras.  So they have seen that it is congenial, and that’s how only a melody is built.  The difference is in the south and north music is this:  In the south, the notes - one note from one to the another - is also divided into many parts and called as “shrutis”.   That’s why it goes little more I should say, into more notes - into finer notes - and may not be that much appealing to some people.  But in the north, especially in meditation, people have discovered these melodies which were congenial and that’s how all these notes put together in a particular manner, were rising and descending, were called as ragas: as the melodies.  Now, these are built up since long.  

Now, these ragas are brought down in generations of generations according to the dynasty you can call it, called as “Gharanas”.  Every great artist, if you go and ask him what is your Gharana, he will tell you that this is the dynasty and that’s how they work out the dynasty.  In a particular Gharana, they have particular style another Gharana they have another style.  Then these ragas are played before the guru; the guru teaches how to play them, how to do all the permutations and combinations, for years together.  Sometimes they start from the age of 10 years going up to the age of 25 to 26 years minimum.  And then they start coming to the public, to the audience to play.  Audience is also very conversant: they dare not play any wrong notes otherwise they don’t like it; they’ll get up and walk out.  So like that, these ragas are made very traditionally.  After that, now there are two types of ragas which are very well known: 900 melodies are well known and there are many others which are unknown, which are composed like this but they also have to be very careful to see that the composition should be such, that the combination of the raga should be blended very well, completely integrated.  And that’s how these different ragas are made.  Then the artist, when he is matured enough, would start playing a raga and he has all the freedom to do what he likes with the permutations and combinations, but he has to keep the ‘maryada’ of that raga.  It’s like you build a beautiful plane or a beautiful ship which is absolutely seaworthy, then allow it to go wherever it likes.  In the same way, but the ship has to be fully equipped and together: otherwise nothing will be left out of that ship.

Now in the western music, you also had the same style, to begin with.  Then it was changed over by certain geniuses, was a good idea, to compose beautiful poems and out of that they got inspiration and they started composing... I mean, I would say the manifestation of those ideas in a poem or a poetry... or a drama, to express the drama in the music.  So they tried to make the ‘sakara’ - that is the form - into a formless.  And that formless thing started moving.  But now that has reached such shores that I don’t know what to say... Because they just hold the mic and jump on it and I don’t know what they sing; God alone knows.  In the same way in Indian Music also, a lot of deterioration has taken place no doubt, and our modern generation likes this ‘shouting music’ very much.  Now you are taking to classical Indian music and they are taking to this shouting music ...If there is a ‘shouty music’ in any one of the big, big hotels in India, people are charged about a thousand rupees as the fee.  I think you should start some money earning propositions. [Shri Mataji laughs]  Actually, we were thinking of having a Sahaj disco club in Pune! [laughter and applause]

I am getting some of you there to sing the song in that fashion but Sahaja Yoga, with My photographs covered with thin paper and singing the song of Sahaja Yoga.  And they won’t understand what they are listening to, and making a big money out of it.  There is no harm in befooling people like that.  If they are fools what can you befool them?  They are already fools.  Like Krishna has said they are already dead, I say they are already fools.  How can you befool them anymore?  That is how Indian Music also is coming down, and they have adapted many, many absurd, useless music from outside.  But I must say that it is very close to the deities and deities understand them.  That’s why you start getting the vibrations, so if you could appreciate it slowly through your heart, through your spirit, you will enjoy it, you will like it.  May God bless you!

After Drama: [3:44:50]Shri Mataji: Hello?  Now, to end it up, we can make a beautiful Sahasrara out of all these ladies.  Should I tell them?  Alright, you all come up on the stage... We must have the Sahasrara at the end of Mataji song, isn’t it? 

[Shri Mataji demonstrates on one yogini’s sari then guides them all on the stage]

From the side, open sari... No, no you have to open sari, open sari... Open sari, hide your hands, hide your hands.  Open saris, all of you... No, no, one hand, one hand ... One hand makes it.  All of you sit together.  Now sit down... make a bigger circle.

Now put your right hand inside the pallu inside, inside... your hand should not be seen ...Now all of you sit down ...All of you hold it here, make a pointed thing ...Now, will you please sit down this side ...Who is this one?  Just make a round, come along ...No, no, no not like that...  Do you understand?  This hand, you take it up like that.  Now hide your faces... Do you hide your faces?  Take it further... Take it further... Up, up in the air.  Take your hands further up in the air... no still more...There, now that’s it!  Now you all bend down ...Absolutely bend down.  That’s the closed lotus, see that?  Closed lotus...  bend further... Close further, bend further.  Put down your hand fully... further, further, put your hand as much as you can.  Now sing the song...

Now don’t get up...  Keep your hands slowly, slowly.   Hold it at the edge of the sari... At the edge of the sari hold it properly.  Very close you sit down.  You can make two circles if you like.  Make two circles would be better.  Make two circles.   Alright now, come along.   Hold it higher... Higher, like this.  Just hold it like this ...Like this, can you hold it to your sari?  With your hand not showing.  Now, bring it down...Hold it tight ...Now... Now be careful... First of all, take it properly... No, no, no, no, she is not alright ...Just put it ...She has taken the other way round ...Yes, take the upper one ...Yes, yes that seems somebody has done there a good one...in the pink...that’s how...  Do it now bending.  Make a full circle.  Come closer to each other... That’s it now.  Now sing the song.  Slowly, slowly get up... very slowly... just a minute ... Slowly, very slowly...  Some are not opening.  Now bend back up to a point...  See?  Now again go back.  Again.  Slowly, slowly...  First class!  Great!  Alright, now, everybody’s Sahasrara is open or not?  Thank you! [Applause]

Very spontaneous! Looks nice!  Alright?  May God bless you!  May God bless you!  You all look like the petals, various petals of the Sahasrara.  May God bless you!

So now, what is the situation?  No one?  That’s the end?  Alright.  Thank you very much.  Wonderfully done!  But I wish you could have put one more in this, is the song of Rabindranath Tagore and the description of the dream of [Lewis?] would have been nice...  Can somebody... has got them?  Ya,   You can read it, see the effect.  It would be very good effects.   Has somebody got it?  Can you read it out?  See the effects!  First the description and then the end with the Rabindranath Tagore’s thing.  Now you show the Ganpatipule.  And all the actors can come on the stage now, sitting down... come along ...come along on the stage.  One side the boys, one side the girls will look nice, alright?   Sit down.  Now leave a space for showing the photograph of Ganpatipule, and you can show Me also in between.  Now come along.  In the end, all the actors must come on the stage.  Where is Gareth?   I can’t see him.  He’s there, alright.  You are the leader of all the seekers, you see so better sit in front...  [Shri Mataji laughs]  Alright, just move out a little bit this side so that... You sit here, some of them, sit here... some can sit here...  Come along ...just move out.  Now put the picture ...Now see feel the Ganpatipule ...now come this side.  Come this side...more... Still a little, the boys have to be more on this side, just some more on this side.  Alright, let’s have it.  Alright, try that... [Applause]Come here, the guru, please...  Come here, sit here in front...  The guru has to sit there.  Alright, now let’s have it.  Good, wonderful...Alright.  So, who should we have?   Govind [or Gavin?], can you read it?  Give him the mic there, please...  Who is in charge of the mic?

Sahaja Yogi [reading]: ‘On the shores of Bharat, where men of all races have come together...

Shri Mataji:  Now, see the vibrations ...

Sahaja Yogi [continuing]: awake, O my mind...’  It’s too much special effects, I can’t read it... [There is a lot of reverb on the microphone...]

Shri Mataji: Too much what, did he say?  Too much emotions, is it?

Sahaja Yogi [continuing]: ‘Standing here with outstretched arms, I send my salutations to the god of humanity and in solemn chant, sing his praises.  At whose call, no-one knows came floating streams of men and merged into the sea of Bharat.  The Aryan, the non Aryan, the Dravidians, the Huns, the Pathans and the Mughals, they all have merged here, into one body.  Today, the West has opened its doors and from thence come gifts.  Giving and taking, all will be welcome on the shores of Bharat where men of all races have come together.  In mad exultation, singing songs of victory have they come, crossing deserts and mountains; they all dwell within me, and in my blood, echo their varied melodies.  O, terrible One, let the heavens resound with your music.  Even those whom in disdain we kept apart, we’ll gather round thee, O Bharat, where men of all races have come together.  Here one day in the hearts of men, the message of the One resounded.  In the fire of tapasya, all differences were forgotten and the many forged into one.  Round that fire of sacrifice, we all have to meet with bowed heads and unite on the shores of Bharat, where men of all races have come together.  In that fire, the bloodshot flame of suffering is aglow.  O mind, bear this suffering and hear the call of the One.  Conquer all shame, all fear and let vanish all humiliations.  What great life will emerge at the end of the days of suffering!  The night ends, the great Mother is awake.  On the shores of Bharat, where men of all races have come together.

Come, O Aryan and non-Aryan, Hindu and Moslem, come, O English and you Christian, come, O Brahmin, purify your mind and clasp the hands of all.  Come, O downtrodden, and let vanish all burdens of your humiliation.  Tarry not, but come you all to anoint the Mother on the shores of Bharat, where men of all races have come together."

Shri Mataji: May God bless you all.  May God bless you.  May God bless you all. I want to thank all the actors, actresses, and the composers, who did the effects, the lights, all organisation...   All of them.  It’s a beginning of a new drama system and a very good idea because I used to write dramas and plays in My childhood.  I am very happy somebody has taken up this side of life which is very important.   And it is very communicating...  A day may come you might form a very wonderful drama society and may go to the whole world to announce the advent of Sahaja yoga.  May God bless you all.  [Jai Shri Mataji]For tomorrow is there any program?

Sahaja Yogi:  Shri Mataji, Your guess is better than ours. [small discussion]

Shri Mataji: I hope you have sung all your songs or you want to sing more?   Alright, so let us have food and we’ll come back. [Applause]

Sahaja Yogi: Shri Mataji, before we finally go, could we just ask You to say a word for Pedro who has been so patient, and so skilful in producing...  and Valerie as well, Mother...

Shri Mataji: Pedro is such a great find you know, as they sometimes find an actor, sometimes a hero, sometimes an actress...   In the same way I found out Pedro, for you people to develop your dramatic arts, long time back.  It’s going to work out.  Give him a hand. [Applause]  And also, we have people among you which I see very clearly their futures as great musicians, and the ones who will compose, the ones who will write plays, who’ll direct plays...  All of you are there, I can see them very clearly... I only hope to live to see all that.  May God bless you!