Goosebumps

Sangam

Herbie Hancock and Lang Lang play Gershwin's Rhapsody in Blue at the Classical Brit Awards, London, 13 May 2009.

Melodious sub-continent

Painting by Jean Kigel

Everyone knows the national anthem of their own country. Some people know something about their anthem, like who wrote and composed it, when it was adopted, what it means and so on.

Very few people know the national anthems of other countries, or care to. But that's to their own loss! For everyone, their own national anthem is something very special. So by knowing another's anthem, one connects with an essential part of them. Its like a people's deep signature. Besides some of the anthems of the world are simply glorious to hear.

We people of the sub-continent of South Asia should hear and learn and know one another's anthems. If nothing else, they are all so melodious, and can be sung with so much feeling. Knowing something of the shared languages of this land, I cannot but be moved to tears by the anthems of Bangladesh, India, Pakistan and Sri Lanka. I like to think all the national anthems of the sub-continent are siblings, which indeed they are, in a very profound sense. And the newest entrant to this melodic family is the anthem of Nepal.

I am reminded of the anecdote in the autobiography of musician Yehudi Menuhin (whose siblings were also accomplished musicians), about someone telling his mother, "Madam, you have a very musical womb!"

So here are the anthems of the sub-continent, in alphabetical order.



Amar Shonar Bangla is the national anthem of Bangladesh. It was adopted in 1972. The song was written and composed by Rabindranath Tagore in 1906. It is in Bengali.

Amar shonar Bangla,
Ami tomae bhalobashi.

Chirodin tomar akash,
Tomar batash,
Amar prane bajae bãshi.

O ma,
Phagune tor amer bone
Ghrane pagol kôre,
Mori hae, hae re,
O ma,
Ôghrane tor bhôra khete
Ami ki dekhechhi modhur hashi.

Ki shobha, ki chhaea go,
Ki sneho, ki maea go,
Ki ãchol bichhaeechho
Bôţer mule,
Nodir kule kule!

Ma, tor mukher bani
Amar kane lage,
Shudhar môto,
Mori hae, hae re,
Ma, tor bôdonkhani molin hole,
Ami nôeon jôle bhashi.

My beloved Bengal
My Bengal of Gold,
I love you.

Forever your skies,
Your air set my heart in tune
As if it were a flute.

In spring, O mother mine,
The fragrance from your mango groves
Makes me wild with joy,
Ah, what a thrill!
In autumn, O mother mine,
In the full blossomed paddy fields
I have seen spread all over sweet smiles.

Ah, what a beauty, what shades,
What an affection, and what a tenderness!
What a quilt have you spread
At the feet of banyan trees
And along the banks of rivers!

O mother mine, words from your lips
Are like nectar to my ears.
Ah, what a thrill!
If sadness, O mother mine,
Casts a gloom on your face,
My eyes are filled with tears!



Jana Gana Mana is the national anthem of India. Composed and scored by Rabindranath Tagore, it was first sung in 1911. It was adopted as the Indian national anthem in 1950. The music for the current version is said to be derived from a composition for the song by Ram Singh Thakur. It is in Sanskrit.

Jana gana mana adhinayaka jaya he
Bharata bhagya Vidhata
Panjaba Sindhu Gujarata Maratha
Dravida Utkala Banga
Vindhya Himachala Yamuna Ganga
Ucchala jaladhi taranga
Tava subha name jage
Tava subha asisha mage
Gahe tava jaya gatha
Jana gana mangala daayaka jaya he
Bharata bhagya Vidhata
Jaya he jaya he jaya he
Jaya jaya jaya jaya he!

O! Dispenser of India's destiny, thou art the ruler of the minds of all people
Thy name rouses the hearts of Punjab, Sindh, Gujarat, the Maratha country,
in the Dravida country, Utkala and Bengal;
It echoes in the hills of the Vindhyas and Himalayas,
it mingles in the rhapsodies of the pure waters of Yamuna and Ganga
They chant only thy name.
They seek only thy auspicious blessings.
They sing only the glory of thy victory.
The salvation of all people waits in thy hands,
O! Dispenser of India's destiny, thou art the ruler of the minds of all people
Victory to thee, Victory to thee, Victory to thee,
Victory, Victory, Victory, Victory to thee!



Sayaun Thunga Phool Ka Hami is the national anthem of Nepal. Adopted in 2007, the lyrics were written by poet Pradeep Kumar Rai, alias Byakul Maila. The music has been composed by Ambar Gurung.

Sayaű thűgā phūlkā hāmī, euṭai mālā nepālī
Sārwabhaum bhai phailiekā, Mechi-Mahākālī
Prakritikā kotī-kotī sampadāko ā̃chal,
Vīrharūkā ragata le, swatantra ra aṭal
Gyānabhūmi, śhāntibhūmi Tarāī, pahād, himāl
Akhaṇḍa yo pyāro hāmro mātṛibhūmi Nepāl
Bahul jāti, bhāṣhā, dharma, sãnskṛti chan biśhāl
Agragāmī rāṣhṭra hāmro, jaya jaya Nepāl
Byakul Maila

We are hundreds of flowers, the one garland - Nepali
Sovereign, spread out from Mechi to Mahakali.
Amassing nature's millions of resources
By the blood of heroes, independent and immovable.
Land of knowledge, land of peace, Terai, hills, mountains
Indivisible this beloved, our motherland Nepal.
The diverse races, languages, faiths, and cultures are so extensive
Our progressive nation, long live Nepal.



The Qaumī Tarāna or Pāk sarzamīn shād bād is the national anthem of Pakistan. Adopted in 1954, the lyrics were written by Hafeez Jullundhri, and the music of the anthem was composed by Ahmed Ghulamali Chagl. It is in Urdu.

Pāk sarzamīn shād bād
Kishwar-e-hasīn shād bād
Tū nishān-e-`azm-e-`alīshān
Arz-e-Pākistān!
Markaz-e-yaqīn shād bād

Pāk sarzamīn kā nizām
Qūwat-e-ukhūwat-e-`awām
Qaum, mulk, sultanat
Pā-inda tābinda bād!
Shād bād manzil-e-murād

Parcham-e-sitāra-o-hilāl
Rahbar-e-tarraqqī-o-kamāl
Tarjumān-e-māzī, shān-e-hāl
Jān-e-istiqbāl!
Sāyah-e-Khudā-e-Zū-l-Jalāl

Blessed be the sacred land
Happy be the bounteous realm
Symbol of high resolve
Land of Pakistan!
Blessed be thou, citadel of faith

The order of this sacred land
Is the might of the brotherhood of the people
May the nation, the country, and the state
Shine in glory everlasting!
Blessed be the goal of our ambition

This flag of the crescent and star
Leads the way to progress and perfection
Interpreter of our past, glory of our present
Knowledge of the future!
Symbol of the Almighty's protection



Sri Lanka Matha is the national anthem of Sri Lanka. Adopted in 1951, the words and music were written by Ananda Samarakoon in 1940. It is in Sinhala.

Sri Lanka Matha, apa Sri Lanka,
Namo Namo Namo Namo Matha.
Sundara siri barini,
Surendi athi Sobamana Lanka
Dhanya dhanaya neka mal pala thuru piri, Jaya bhoomiya ramya.
Apa hata sapa siri setha sadana, jeewanaye Matha!
Piliganu mena apa bhakthi pooja,
Namo Namo Matha.
Apa Sri Lanka,
Namo Namo Namo Namo Matha
Obawe apa widya, Obamaya apa sathya
Obawe apa shakti, Apa hada thula bhakthi
Oba apa aloke, Aapage anuprane
oba apa jeewana we, Apa muktiya obawe
Nawa jeewana demine
Nnithina apa Pubudu karan matha
Gnana weerya wadawamina ragena yanu
mena jaya bhoomi kara
Eka mawekuge daru kala bawina
yamu yamu wee nopama
Prema wada sama bheda durara da
Namo Namo Matha
Apa Sri Lanka,
Namo Namo Namo Namo Matha.

Mother Lanka we salute Thee!
Plenteous in prosperity, Thou,
Beauteous in grace and love,
Laden with grain and luscious fruit,
And fragrant flowers of radiant hue,
Giver of life and all good things,
Our land of joy and victory,
Receive our gratefull praise sublime,
Lanka! we worship Thee.
Thou gavest us Knowledge and Truth,
Thou art our strength and inward faith,
Our light divine and sentient being,
Breath of life and liberation.
Grant us, bondage free, inspiration.
Inspire us for ever.
In wisdom and strength renewed,
Ill-will, hatred, strife all ended,
In love enfolded, a mighty nation
Marching onward, all as one,
Lead us, Mother, to fullest freedom.

Song and Dance

I was in hospital for treatment of a deep vein thrombus in my right leg. So I saw a load of films, copied for me a few months ago by my sister Sita. These included five films of Pedro Almodovar, the Spanish director. The one I liked most was Hable con ella (Talk to Her).



The highlight of the film for me was the song "Cucurrucucu Paloma" by Caetano Veloso. I had grown up hearing this song sung by Harri Belafonte. I was hearing the song after more than thirty years. So yes, it was very moving. Not the least for Caetano's rendition. I was completely entranced by the song and was haunted by it in the days following. Amodovar filmed this at his country house, and the crowd is a group of his friends.



The lyrics (in Spanish) and translation into English are available here.

And thus did I finally get introduced to Caetano, who has been called one of the greatest songwriters of the century. Hats off to Alberto Iglesias, who was responsible for the soundtrack of the film.

Also entrancing in "Talk to Her" were the two dance sequences choreographed by Pina Bausch, the first from her production "Café Muller," and the second from "Masurca Fogo", with which the film begins and concludes.





Almodovar had evidently been greatly inspired by Pina Bausch. Pina and her group had visited our Talimi Haq School in 2006 and 2008, and so once again, there was a deep personal resonance for me.

Also among the films I saw in hospital was E la Nave Va (And the Ship Sails On), directed by Federico Fellini. That too had an appearance by Pina Bausch! In fact when Caetano made the CD of the concert in which he paid homage to Federico Fellini, he made a tribute to Pina Bausch. Caetano said, “Like Fellini. I am in love with Pina”. So he dedicated the song “Dama das Camelias” in his tribute to Fellini to Pina Bausch.



My friend Sam Mills told me Caetano's Billie Jean was worth coming out of hospital for! And so here is that.

Peace through Music

From the award-winning documentary, "Playing For Change: Peace Through Music", comes the first of many "songs around the world" being released independently. Featured is a cover of the Ben E. King classic by musicians around the world adding their part to the song as it travelled the globe. This is part of a movement to help build schools, connect students, and inspire communities in need through music.

When the night has come
And the land is dark
And the moon is the only light we'll see
No I won't be afraid, no I won't be afraid
Just as long as you stand, stand by me

And darlin', darlin', stand by me, oh now now stand by me
Stand by me, stand by me

If the sky that we look upon
Should tumble and fall
And the mountains should crumble to the sea
I won't cry, I won't cry, no I won't shed a tear
Just as long as you stand, stand by me

And darlin', darlin', stand by me, oh stand by me
Stand by me, stand by me, stand by me-e, yeah

Whenever you're in trouble won't you stand by me, oh now now stand by me
Oh stand by me, stand by me, stand by me

Darlin', darlin', stand by me-e, stand by me
Oh stand by me, stand by me, stand by me

Unstoppable...

Weapon of Choice (open in a new window)

Enjoy the music

Chant 4 Change

From my friend Jai Uttal.

Celebrate the Inauguration of Barack Obama with sacred activist Shiva Rea, world-renowned kirtan/chant artists Jai Uttal, Dave Stringer, Gaura Vani & As Kindred Spirits and 400 other conscious revolutionaries. Join us for a full night of chant, dance, expression and teaching within sight of the White House and the Washington Monument. This is the place to be on the night before the Inauguration. Millions are converging on the nation's capital to witness this once-in-a-lifetime event. Be here now at the heart of the movement! Breathe! Chant! Move! Dance! We will lift our hearts and voices to empower ourselves, our new leaders, our city, our country and our world in this revolutionary gathering of sacred sound and movement.

Note: Register in advance. This event will sell out.

Jai Uttal, Shiva Rea and more

www.brownpapertickets.com/event/50783

Church of the Holy City

1611 NW 16th Street

Washington, DC 20009

www.chant4change.com

Tel: 202-316-2472

DuPont Circle Metro accessible. Street parking is very limited. All ages welcome. Children on laps are free. Drinks and light fare available for purchase.

7:00pm - 11:00pm

After Obama's victory, I had written to Jai:

I thought about the music that should inaugurate President Obama's swearing in. The attached picture - the music would convey the expression of grief of the mother, and touch of consolation of her child, and finally a rousing call to the people to make them aware of the gravity and complexity and challenge of what lies ahead and yet give them faith and conviction in their own capability to achieve this, and energise them in every way for that.

Twisting the words of Paul McCartney

by Jonathan Power

Whatever Paul McCartney says or does is news, sometimes big news. In September, when he went to give a concert in Israel ~ making up for the Beatles concert that the Israeli government forbad at the last moment, forty three years ago ~ he was slashed at by some pro-Palestinian critics for “singing to the enemy”. No matter the “enemy” audience was perhaps 20% Arab, that he also used his trip to visit the West Bank not only to see Jesus’ birth place but to call in on Edward Said’s music school. When he sang he also in his trademark low key, non-preachy, way pointed his audience in the direction of compromise and healing.

One of the prices of the fame he has is to see his honest words and honest thoughts twisted almost out of recognition. I saw this happen close up last week when my long conversation with McCartney was published in Britain’s leading intellectual monthly, Prospect magazine. It was if the press has a mindset about the McCartney-John Lennon relationship that demands that anything he says be squeezed into some previous mould, and if doesn’t quite fit then an extra shove is made so that the verbal tentacles are distorted beyond recognition as they are pressed down.

After banner headlines over the misleading story in British newspapers, led by the big circulation, Rupert Murdoch paper, the Sunday Times, the wire service, Associated Press, carried the story around the world, where it was printed in literally hundreds of papers (Just tap into Google the words, ”Paul McCartney interview in Prospect magazine”, to see for yourself). One report, one identical story, the world is covered with misleading information by editors too uncaring or unmotivated or just plain lazy to make a call to Prospect to ask for the original wording. Not one journalist called me.

The fact is the interview carries not a word of rivalry with John Lennon. Neither about which Beatle discovered the Vietnam War first, (the main themes20of the Sunday Times/AP story). Nor about the allusions the story made to McCartney’s (mythical) claim, at Lennon’s expense, to have written the best of the Beatles’ tunes.

The interview runs to about 5000 words- double that in its uncut form. The discussion on the Vietnam war is perhaps a dozen lines of that. The mention of John Lennon is once- when Paul describes how he returned from a conversation with Bertrand Russell to tell the other three what he had heard from the old philosopher about the evils of the war in Vietnam.

My interview with Paul originated in the Liverpool Institute High School for Boys over 50 years ago. We were classmates. We played cricket together and I witnessed the first Beatles’ concert when he and George Harrison (in the year behind us) played for our class on the the last day of school. We yelled like groupies!

We have stayed in touch. I wrote to Paul in May to send him the column I wrote on the newspaper hype about the 40th anniversary of the student rebellion in Paris. I wrote that the ”revolution” did not begin in 1968. It began in 1955 when an old black lady, Rosa Parks, in Montgomery, Alabama, sat down in a bus on a seat reserved for white people. She was arrested and out of the shadows stepped a young preacher, Martin Luther King. The rest is history. King’s driven non-violent campaigns resulted in the Civil Rights Act and the Voting Rights Act. Millions of blacks were liberated an d enfranchised. The long road out of oppression led to the election of Barack Obama. What a real revolution that has been!

Along the way in 1961 came the Beatles, a liberating force for millions of young people. Also in Britain in the same year Amnesty International was founded- a milestone in the rise of human rights consciousness. To start contemporary history in 1968 is a fatuous mistake.

Paul agreed we talk about this and we decided we would meet and go over our lives and discuss what had affected us though our lifetime and what had tuned us both in at school to fight racism and war. We met twice, once for two hours and once for an hour and talked- about school, the Vietnam war, the civil rights movement, right through to the Russian invasion of Georgia. On the way we talked about literature and the impact of FR Leavis, the great Cambridge Shakespearian scholar, on the writing of Eleanor Rigby, and Paul’s feelings on the likelihood that his songs will still be sung in 500 years’ time.

Paul is a self effacing, wise, intelligent man. He may grab the spotlight on the stage. But he has no need to twist history. And neither should the press when reporting on him.

Image: Courtesy The Transnational Foundation for Peace and Future Research.

Chooky Dancers

A quirky dance routine to the music of Zorba the Greek has earned a group of young Aborigines worldwide fame on the Internet as well as invitations to perform around Australia, and also to visit Greece.

The father of one member of the troupe, who live on remote Elcho Island off Australia's northern coast, posted a clip of their engaging and comical performance on YouTube two months ago. As of this week, it had been viewed nearly 500,000 times. Half of the dozen dancers, aged between 12 and 23, for whom English is their second or third language, have never been further from home than Darwin; the other half had not even been to Darwin until recently.

Now the Chooky Dancers are preparing to travel to Melbourne in February for a televised talent competition, then on to a festival in Canberra. In March, they will tour Queensland.

Their act, which melds Aboriginal dance with music from the classic Sixties film, has reportedly won accolades from, among others, the legendary Zorba composer, Mikis Theodorakis. The young men and boys from the Yolngu clan who perform in bare feet, loincloths and ceremonial body paint - have been invited to Greece, where the video clip has caused such a storm that one cafe owner on the island of Kastelorizo screened it in the village square.

The recording was made at a music festival in Ramingining in Arnhem Land, a traditional tribal area in the Northern Territory. Lionel Djirrimbilpiluwy, the 21-year-old troupe leader, who came up with the Zorba idea, said: “It's fantastic the world wants to see us dance. Who would think a white-fella audience would react like that? It's incredible.”

Mr Djirrimbilpiluwy's father, Frank, a well-known singer who manages the Chooky Dancers, was responsible for bringing them to international attention. “We still can't believe it,” he told the Sydney Morning Herald. “I posted video of the dance on YouTube for a bit of fun, and it just took off.”

The dancers hope they will be seen as role models on Elcho Island, which suffers from many of the social problems that blight Aboriginal communities.

From The Independent.

You come along too!

I had written about the song Chal Mere Saath Hi Chal. Another song on a similar theme is Humsafar, by Silk Route, who burst into the scene in 1998 with their album Boondein, with entrancing melodies and lyrics.

Here's the song Humsafar.

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hum jo chalen
tum bhi chalo saath
phir kya khabar
ki din hai ke raat

As I’m going,
You come along too!
Then there’ll be no track
Of whether its day or night.

bas mein nahin
rahenge jazbaat
tum jo sanam
hamare chalo saath

There’ll be no rein
On emotions
When you, O dearest,
Come along with me.

hum jo chalen…

As I’m going…

sur se sajee
geeton si teri yaad
tujh bin sanam
bhaaye na koi baat

Like melody-bedecked songs
Is your memory
Without you, O dearest
Nothing is right

kaise kaho
akele chalun aaj
aao sanam
soone hain dil ke saaz

O tell me
How shall I walk alone today
Come O dearest
Heart’s melodies are forlorn

kaisi bhi raahein ho kaisi dagar ho
koi bhi rasta ho koi safar ho
chalte rahein hum jo tu ...hum safar ho

Whatever the paths, whatever the place
Whatever the road or journey
I’ll go on walking when you … are a fellow-traveller

hum jo chalen ...

As I’m going…

din yeh kahe
baitho hamaare paas
aao idhar
ishaara kare raat

Day calls out
Sit beside me
Come here,
The night beckons.

hum ko magar
chahiyeh wohi shaam
jis par sanam
likkha ho tera naam

But I want
Only that eve
On which, O dearest
Your name’s written.

chandni raate yah khilti saher ho
chaahe din ka woh koi pahar ho
chalte rahein hum jo tu ... humsafar ho

Whether its moonlit nights or blooming dawn
Whatever the time of day
I’ll go on walking when you … are a fellow-traveller

hum jo chalen
tum bhi chalo saath
phir kya khabar
ki din hei ke raat

As I’m going,
You come along too!
Then there’ll be no track
Of whether its day or night.

bas mein nahin
rahenge jazbaat
tum jo sanam
hamare chalo saath

There’ll be no rein
On emotions
When you, O dearest,
Come along with me.

galiyon mein phirta hai banjara dil ye
tujh ko hi dhoonde ga awara dil ye
karta hai jaane ishaare ... kya dil ye

This gypsy heart roams alleyways
This vagabond heart will keep searching for you
What’s this heart signalling?

(Lyrics: Sailesh Sharma, Prasoon Joshi & Silk Route)

The title track of Silk Route's album Boondein is also a beautiful song. Here is the song.

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And here's the video.



koi ho yadon mein
palkon pe boondein liye
aaina bani yeh ankhen teri

Were there was someone in memories,
Droplets gathered on eyelids,
Your eyes turned mirror.

dheemi si khushbu hai
hawaon ke jhonkon ne jo
chhoo ke tujhe churaee

Gentle is the fragrance
That the wafting breeze
Touching you, stole.

saanson ki rahon me
kya mil sakenge kabhi
dhunden tujhe nigahen meri

On the pathways of breath
Would we ever be able to meet?
My gaze searches for you.

saathi the janmon se
rahon mein kyun kho gaye
manzil hamein bulaane lagi

We were companions over lifetimes
Why did we got lost among the pathways?
Destination’s begun calling us.

naghma ho bhiga sa
ya tum ho koi ghazal
har pal jise gungunata rahun

Are you a moist verse,
Or are you a love-song,
Which I hum every moment?

honthon se haule se
sargam jo behene lagi
gaane lagi chaahen meri

From the lips, gently,
O a stream of melody’s begun to flow!
My wishes have started to sing!

(Lyrics: Prasoon Joshi & Silk Route)

This song, Boondein, reminded me of Wind of Change by Scorpions. Here's the video of Wind of Change.




Photo: Caanan Mountain Above the High Desert Plain, by Aaron D. Gifford.

Gandhi on music & art

Mahadev Desai joined Mahatma Gandhi in 1917 and remained with him till Desai's death in 1942. I came upon a very interesting account, in Mahadev Desai's diary, of a discussion between Mahatma Gandhi and Dilip Kumar Roy, in the end of January 1924. I reproduce that below.


Dilip, son of the well-known dramatist of Bengal, Dwijendralal Roy, visited Gandhi one evening. He had already earned abroad the reputation of a distinguished Indian singer. He had come in the morning and promised to return in the evening to sing some hymns to Bapu.

It was about 8 p.m. when he came. Dilip had brought his sitar. A good number of listeners had collected in the room. Sitting on a sofa opposite to Gandhiji's bed he began singing a song of hymn to Krishna.

"O Lord! O Hari! Gopal! my Love!
Call me I pray to Thee above …

The moving sentiment in the hymn, the charming voice of the
singer and the listners' receptive mood filled the place for a while
with the earnest loving entreaty made in the song. Everyone was, as
it were, wafted to that blissful place and humming the following
lines :

"Of hunger, thirst, I won't complain.
Content with fruit I will remain".

But even before vibrations of that son had died in our ears, the friend began the well-known song of Meerabai, Chakar rakhoji, which thrills with the same ethereal air:

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"Make me Thy servant - the last stain efface
Of selfhood; be my life an offering
In song's own bliss and bloom's own loveliness.
For beauty holds a mirror to Thee, O King,
Of Beauty's ultimate home - Thy Brindaban!
Whose glory in her bowers will I sing.
And accost Thee daily in Thy golden dawn
In every flower, every purlingst realm
In changing forms deciphering the One.
Here, in Thy happy hunt, where dreamers dream
And Yogis strive through Yoga Thee to meet
And all who visit hail Thy summit gleam,
Thy Meera treads but one way Thee to greet:
She prays: "Besiege my heart at midnight hush
And on banks of Love's blue rill Thy dance repeat."

All of us felt as if we ourselves were 'dancing on Love's blue rill' - that was the effect the performance produced. Profound silence prevailed for a while. Dilip then touched a topic and raised a dialogue.

"I feel, Mahatmaji", he said, "that our beautiful music has been sadly neglected in our schools and colleges."

"It has - unfortunately", Bapu agreed, "I have always said so."

"I am very glad to hear this, Mahatmaji, because, to be frank, I was under the impression that art has no place in the gospel of your austere life. I had often pictured you as a dread saint who was positively against music."

"Against music - I"! exclaimed Mahatmaji, as though stung. "Well, I know, I know," he added resignedly, "there are so many superstitions rife about me that it has now become almost impossible for me to overtake those who have been spreading them. As a result, my friends' only reaction is almost invariably a smile when I claim I am an artist myself."

"I feel so relieved, Mahatmaji" I laughed, "but may not your asceticism be somewhat responsible for such popular misconceptions? The people would find it difficult to reconcile asceticism with art".

"But I do maintain that asceticism is the greatest of all arts. And to think that I should be dubbed an enemy to an art like music because I favour asceticism! I, who cannot even conceive of the evolution of India's religious life without her music! But, indeed, I fail to see anything in much that passes for art in these days. What is needed for the appreciation of any art is to have the heart for it, not any ntimate knowledge of technique or training. Why must my walls be overlaid with pictures, for instance, when they are meant only for sheltering us? I do not need pictures. Nature suffices for my inspiration. Have I not gazed and gazed at the marvellous mystery of the starry vault, hardly ever tiring of that great panorama? Could one conceive of any painting comparable in inspiration to that of the star-tudded sky, the majestic sea, the noble mountains? Beside God's handiwork does not man's fade into insignificance?'

Dilip agreed: "Yes, what man in his senses will claim that the artist's handiwork is even greater than life's?"

Bapu then rushed on and changing the Gita's aphorism, "Yoga is skill in action", he said in effect that skill in action was itself the highest art. "Life must immensely exceed all the arts put together. To me the greatest artist is surely he who lives the finest life. For what is this hot-house art-plant of yours without the life-soul and background of a steady worthy life? What after all does that art amount to which ll the time stultifies life instead of elevating it? No. Art has a place in life, but art is not life. Life, on the contrary, is Art. Art should be subservient to life. It should act as its handmaid, not master. It should be alive to life and the universe."

Source: Mahadev Desai's diary. For resources on Gandhi, visit here. Example, Gandhi on Google Video.

Sacred Songs blog

Today 21 June, the day of the summer solstice, is World Music Day as well as World Peace & Prayer Day.

To commemorate this day, I have created a Sacred Songs blog.

I started composing and singing devotional songs and chants in 1995, and also began setting to melody verses from sacred texts. I had the opportunity to share these songs with small audiences in different places.

I would like other singers and musicians to listen to these songs and use them as they like. And hence the Sacred Songs blog.

Sarvamangalam, mangalam!

May all living beings, everywhere, be well!


Image: Sculpture, Sacred Songs, by Bob Piercey.

Singing the Hymn to Love

After my post yesterday of 1 Corinthians:13 ("Hymn to Love"), I wanted to get the original Greek text, its transcription in Roman, and an audio of its recitation, so that I could learn to sing this.

I was delighted to discover that in the film Three Colours: Blue, by Krzysztof Kieslowski, the finale of the film features the Song for the Unification of Europe. Composed by Zbigniew Preisner and sung in Greek, this is an abridged version of 1 Corinthians:13 . The music is performed by the Sinfonia Varsovia, conducted by Wojciech Michniewski, with Elzbieta Towarnicka, soprano, and The Silesia Philharmonic Choir.



Here are the lyrics, in Greek.

Εάν ταις γλώσσαις των ανθρώπων λαλώ και των αγγέλων
αγάπην δε μη έχω, γέγονα χαλκός ηχών ή κύμβαλον αλαλάζον.
Και εάν έχω προφητείαν και ειδώ τα μυστήρια πάντα
ώστε όρη μεθιστάνειν, αγάπην δε μη έχω
ουδέν είμι.
Η αγάπη μακροθυμεί, χρηστεύεται,
η αγάπη ου ζηλοί, η αγάπη ου περπερεύεται, ου φυσιούται.
Πάντα στέγει, πάντα πιστεύει, πάντα ελπίζει, πάντα υπομένει,
η αγάπη ουδέποτε εκπίπτει
είτε δε προφητείαι καταργηθήσονται
είτε γλώσσαι παύσονται
είτε γνώσις καταργηθήσεται
Νυνί δε μένει, πίστις, ελπίς, αγάπη,
τα τρία ταύτα,
μείζων δε τούτων η αγάπη.

In transcription:

Ean tais glosais toon antropoon lalo
kai toon angeloon,
agapen de me echo,
gegona chalcos echoon e kumbalon alaladzon

Kai ean echo profeteian,
kai eido ta mysteria panta,
pistin ore metistanai,
agapen de me echo, outen eimi

He agape makrotumai, chresteuetai
he agape ou dzelloi, ou perpereumai, ou fysioutai.

panta stegei, panta pisteuei, panta elpizei, panta upomenei.

He agape oudepotte piptei
eite de profeteiai, katargetezontai,
eite glosai, pausontai,
eite gnossis katargetesetai

Nuni de menei, pistis, elpis, agape,
ta tria tauta, meidzoon de toutoon, he agape.

In translation:

Though I speak with the tongues of angels
If have not love, my worlds would echo like a gong, and a clanging cymbal.
And though I have the gift of prophecy and understand all mysteries
And though I have all faith so that I could move mountains
If I have not love I am nothing.
Love is patient, full of goodness,
Love tolerates all things, aspires to all things
Love never dies.
While the prophecies shall cease
Tongues shall be silenced
Knowledge shall fade
Thus then shall remain only
Faith, hope and love
But the greatest of these is love.

Ye duniyaa agar mil bhi jaaye to kyaa hai?

A few years ago, film-maker Shashi Anand and I discussed the idea of bringing out a book (in English) of selected Hindi film songs.

Hindi film songs used to combine outstanding poetry, melody, vocal and instrumental virtuosity, choreography / picturisation, and social and cultural communication. They formed an important part of the education of millions of Indians from all walks of life.

We wanted to celebrate and pay tribute to Hindi film songs as exemplars of social integration, and to share our own intensive appreciation of many songs. We thought that through our book, a heightened appreciation of Hindi film songs would be awakened, besides reaching out to many others who are otherwise indifferent or lukewarm to this art form.

Apart from basic information on the singer, film, music director, director etc, there would be an accompanying commentary on each song to enhance readers’ appreciation of the meaning and significance of the songs.

Well, that was another project that remains unrealized.

But one of the songs that would have been high on the list is “Yeh duniyaa agar mil bhi jaaye to kya hai?” This is from the film Pyaasa (1957), directed by Guru Dutt.

With lyrics by Sahir Ludhianvi, and the music composed by Sachin Dev Burman, the song is sung by the immortal Mohammed Rafi.

The title of the song means: Even if this world is attained – so what?

Who gives a damn for this rotten world?

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The lyrics in Hindi text are accessible here.



ye mahalon, ye takton, ye taajon kii duniyaa / This world of palaces, of stages, of crowns
ye inasaan ke dushman samaajon kii duniyaa / This world of societies that are enemies of humans
ye mahalon, ye takton, ye taajon kii duniyaa / This world of palaces, of stages, of crowns
ye inasaan ke dushman samaajon kii duniyaa / This world of societies that are enemies of humans
ye daulat ke bhuukhe rivaazon kii duniyaa / This world of wealth-craving rites
ye duniyaa agar mil bhii jaaye to kyaa hai / Even if this world is attained – so what?
ye duniyaa agar mil bhii jaaye to kyaa hai / Even if this world is attained – so what?

har ek jism ghaayal, har ek ruh pyaasii / Every body wounded, every soul thirsty
nigaaho mein uljhan, dilon me udaasii / Sight confused, hearts sorrowful
ye duniyaa hai yaa aalam-e-badhavaasii / Is this a world or a beacon of an ill-wind?
ye duniyaa agar mil bhii jaaye to kyaa hai / Even if this world is attained – so what?
ye duniyaa agar mil bhii jaaye to kyaa hai / Even if this world is attained – so what?

yahaan ek khilaunaa hai inasaan kii hastii / Here man is a puppet
ye bastii hai murdaa-paraston kii bastii / This is a place of necrophiliacs
yahan to jo jiivan se hai maut sastii / Here cheaper than life is death
ye duniyaa agar mil bhii jaaye to kyaa hai / Even if this world is attained – so what?
ye duniyaa agar mil bhii jaaye to kyaa hai / Even if this world is attained – so what?

javaanii bhatakatii hai badkaar banker / Youth goes astray by transgression
javaan jism sajte hain baazaar banker / Marketplaces arise and young flesh adorns itself
jahaan pyaar hotaa hai vyaapaar banker / Where loving mutates into commerce
ye duniyaa agar mil bhii jaaye to kyaa hai / Even if this world is attained – so what?
ye duniyaa agar mil bhii jaaye to kyaa hai / Even if this world is attained – so what?

ye duniyaa jahaan aadamii kuchh nahiin hai / This world where people count for nothing,
vafaa kuchh nahiin, dostii kuchh nahiin hai / Honour is nothing, friendship is nothing,
ye duniyaa jahaan aadamii kuchh nahiin hai / This world where people count for nothing,
vafaa kuchh nahiin, dostii kuchh nahiin hai / Honour is nothing, friendship is nothing,
jahaan pyaar ki kadr hii kuchh nahiin hai / Where respect for love is itself non-existent
ye duniyaa agar mil bhii jaaye to kyaa hai / Even if this world is attained – so what?
ye duniyaa agar mil bhii jaaye to kyaa hai / Even if this world is attained – so what?

jalaa do, ise bhunk daalo ye duniyaa / Burn down, raze this world
jalaa do, jalaa do, ise bhunk daalo ye duniyaa / Burn down, burn down, raze this world
mere saamane se hataa lo ye duniyaa / Remove this world from my sight
tumhaarii hai tum hii sambhalo ye duniyaa / Its yours, you take care of it
ye duniyaa agar mil bhii jaaye to kyaa hai / Even if this world is attained – so what?
ye duniyaa agar mil bhii jaaye to kyaa hai / Even if this world is attained – so what?

Musical inspiration

Having discovered the wonders of YouTube, I picked up clips of some of the important sources of my musical nourishment and inspiration over the last 40+ years.

Here's a pick of a dozen.

Three cheers for YouTube!

O Mein Papa

Paul Burkhard's 1939 German classic, sung (in French, "Oh! Mon Papa") by Yvann Sangsue.

German lyrics here, French lyrics here.

The English version, "Oh! My Pa-Pa", by Eddie Fisher (1954):

Oh, my pa-pa, to me he was so wonderful
Oh, my pa-pa, to me he was so good
No one could be, so gentle and so lovable
Oh, my pa-pa, he always understood.

Gone are the days when he could take me on his knee
And with a smile he'd change my tears to laughter

Oh, my pa-pa, so funny, so adorable
Always the clown so funny in his way
Oh, my pa-pa, to me he was so wonderful
Deep in my heart I miss him so today.

Harri Belafonte, Jamaica Farewell

From Harry Belafonte's Calypso (1956), lyrics by Lord Burgess.

Down the bay where the nights are gay
And the sun shines daily on the mountain top
I took a trip on a sailing ship
And when I reached Jamaica I made a stop

But I'm sad to say I'm on my way
Won't be back for many a day
My heart is down, my head is turning around
I had to leave a little girl in Kingston town

Down the market you can hear
Ladies cry out while on their heads they bear
`Akey' rice, salt fish are nice
And the rum is fine any time of year

Sounds of laughter everywhere
And the dancing girls sway to and fro
I must declare my heart is there
Though I've been from Maine to Mexico

Maria, from West Side Story

The film, West Side Story, directed by Robert Wise and Jerome Robbins, was relesed in 1961. Music by Leonard Bernstein, lyrics by Stephen Sondheim.

The lyrics appear on the screen.

MS Subbulakshmi

The incomparable, divine-voiced MS Subbulakshmi.

From the Hindi film Meera (1945). Music director: Dilip Kumar Roy.
Raga: Mohanam (Bhupali), Aadi Taalam. Lyrics: Meera

Adoration of the infant Krishna.

giridhara gopaalaa baalaa
giridhara gopaalaa baalaa
giridhara gopaalaa

shyaamala sharira kaustubha haara
shyaamala sharira kaustubha haara
pitaambara-dhara prabho muraare
pitaambara-dhara prabho muraare

giridhara gopaalaa

nanda sukumaara mana-mohanaa-kaara
nanda sukumaara mana-mohanaa-kaara
brindaavana-cara tulasi-haara
brindaavana-cara tulasi-haara
giridhara gopaalaa baalaa
giridhara gopaalaa

giridhara gopaalaa
giridhara gopaalaa
kamsa vidaara
giridhara gopaalaa
kamsa vidara
miraa maanasa saro-vihaara
miraa maanasa saro-vihaara

giridhara gopaalaa baalaa
giridhara gopaalaa
baalaa