Satya Robyn hosts a live Indian classical music performance at a temple center. Vocalist Avantika introduces raga Yaman and its connection to the chakras, while tabla player Akash and accompanist John support performances of Yaman, Hanuman, and Desh, with bhajans to follow after intermission.
Chapters
Welcome everyone. Lovely to be here. Real privilege to be invited. Yes, you, Satya, Caspar, thank you so much for your holders. Reflecting back, I've always lived around here, and I remember thinking in the— probably in the early '70s, 'God, wouldn't it be amazing to have a Buddhist monastery in Woburn?' Times are changing, you know, it's phenomenal. And so in a week, so many people to be congregated here to share. Fabulous what you hold and what you bring. Bless you all, you and all the people that support you. Thank you so much. So it's a privilege to be, to have Avantika and Akash here. And John Blessim's joined us. John I've known for many years and met John through singing raga with Gilles Petit. Some of you may know Gilles, incredible French musician, teaches voice work and body work. And Gilles introduced me, said one day you must meet this incredible Indian woman who, when she was just 13, I sang with, and she sang in a way that I have not sung with anyone else in India before. She already could understand something about cosmic sound, and I was very lucky to meet Avantika. I don't know how to use it. Then started having lessons, and then we got to know each other more intimately, and it's been an incredible journey. And a real blessing to have her here. And to be here. We're just— this is, in a way, the last day of Indian October. We've just been celebrating 2 weeks and 2 days of Indian music, dance. We've had some fantastic concerts and events. So this is a really nice full stop to that. Thank you. So tonight we'd like to offer two ragas. Raga is a classical Indian pieces of music, if you like, offerings. And we'll talk more after the first one. I think Avantika will probably say something. Would you like to say anything about Yaman? So there will be a piece in Yaman, which is an evening rag, and then a song that Jill wrote, and then another, a lighter piece of rag. And then Avantika will sing some bhajans. So we aim to be done before half past 9. And yeah, enjoy. It's very much a journey. A lot of it's a meditation. Most of it's improvised, not all of it. And a lot of it, when I say in my Western anal way, 'Oh, can we rehearse that?' Avantika will say, 'No!' We cannot rehearse it, we must not rehearse it, we must be alive with it on that edge, there and then.
So—
Namaskaram, Mooji Baba. Thank you so much, Satya Robyn, for inviting. Whatever words say, it's his generosity and kindness. It's my fortune to be between such lovely people. Thank you very much. The raga which I am opening, name is called Yaman. Yaman is a meeting point of a day and night, and when it comes, that becomes evening. That's a transition point. And it's very— because it's a Buddhist center, It must be known that these times are very important for spiritual growth. So this raga is quite like that. And specialty is we have normal notes, do, re, mi, fa, so, la, si, do. But there is ma do, re, mi, fa, which is sharp. That makes it beautiful and the flow.
And it will make you more relaxed, and if you like to sleep, you can. And I just feel I want to say two things. Ma, the fourth, the sharpened fourth, was actually banned in the Middle Ages by the church. It has such power as a note and evocation. That was considered dangerous by the church in those days. So listen out for this incredibly evocative, beautiful note. And the other thing, having mentioned you, Avantika, and all you bring, I also want to speak of Akash, the most accomplished tabla player I've ever met. Avantika started performing at the age of 4. Frances started singing at the age of 2 and a half. And they've both been performing all— in many countries over the years, particularly China and Taiwan and India. In fact, it was— I came here to sing with John and David Baylen in 2016. Before I went to Taiwan, I'd been invited to Taiwan to sing, and I was very nervous because I love this work, but I'm very nervous. And so organized two concerts before I went, one to Falmouth and one here. And I don't know whether any of you were here at that, but it was, for me, it was a really special evening. And John accompanied on tampura and clarinet, and David Bellin on tabla. So it's really nice to bring Satya Robyn out.
Aah! My head high. My head high. My heart.
Satya Robyn. Tivama. So A raga is based on the notes of the scale in a particular discipline, relationship, frequency of intervals. And in that one, the sharpened fourth— each note relates to each of our chakras. The sharpened fourth is the mind Aha, it's a heart chakra. So when we sharpen the heart chakra, it has a certain impact if we can allow ourselves into that. Beautiful feeling. Now I'm going to sing a song by you in another which is— this has got the ordinary ma, but it's got the flattened 7th, so it's got a slightly different feel. And you'll feel into that. I just noticed actually there's a cushion at the front. If anyone's at the back would like to be nearer the front, do come and get nearer. If you don't want to get nearer, that's fine too. So I just thought I'd endeavour to explain a bit about the notes, and this is a participative song. I'd appreciate you all— my invitation is for you to all to join in on this and all to be percussion. Before we do that, I'd like to just take you through the names of the notes just to just to help you in a little bit into this world of raga that Vantika was giving us such a wonderful offering of. So the notes being played by the tampura and by the harmonium is the saar, it's the home. It's the home, it's the floor on which we walk, the home into into which we're born. And you can think of raga— raga is like a journey from being born into that home. And so home is this place called Sa. Each note has a Sanskrit name, so Sa— Sa— come, let's sing that Sa together. And we take a first step— what a beautiful sound, hey? We take a few first steps from that 'sa' and it's a delicate step as a young baby just beginning to walk, and it's called a 're'. And it's delicate, it's a bit uncertain, so let's try that uncertain first step. Another breath on that beautiful Re.
Re.
Fabulous. The third note is the first sort of landing place as we get a bit more confident in our step. Ah, we can stand in this place called Ga. It's our third chakra. Ga.
Ga.
It's much more secure, it's more firm, it has a real relationship with the sa, a real harmony with the sa. Let's just have another ga together. Ga. So beautiful. The next is the fourth, is the ma, the feminine in everything, hey? So let's go for Maa. Maa. Be that feminine. Allow yourself into that heart.
Maa.
Fabulous. The next note, the, the fifth, the perfect fifth, is the male note, the pa, the heart, the throat chakra. Really firm. Yes. Pa. The next, Da, the third eye is like the sun coming over the horizon on a new day.
Da. Da.
Be that sunshine. Da. Be that warm sunshine.
Da.
And then knee, the seventh is the crown chakra, just under the saar, it's edgy, it's quite, ah, quite, knee, that's our knee, knee.
Another breath.
Knee.
And finally, we land back on the top 'sa' with relief, but with full expression. 'Sa'!
Come on!
'Sa'!
'Me'!
'Na'!
What a wonderful choir!
So a raga is this journey using the Sanskrit names of notes sometimes, and sometimes in aka when we're just singing aah, and sometimes Avantika making certain name— naming notes in different ways, which have ancient— it's from Drupal, and it's— Satya Robyn will tell you more about that, I'm sure. So yeah, a raga is a journey, and each note is its own cosmos. Each note has its own— relates to a chakra, but it also relates to a feeling, a sensuality, and there's animal relationships. So allow, as each note comes in, to feel into the sense of whatever world it takes you into. Allow yourself into that world to explore it and enjoy it. And usually a rag starts off slowly and it introduces one note at a time that sets out that scale. That— and each scale, each rag has a particular feeling for a particular time of day, perhaps time of year, and as it develops and it plays around with those notes. This note is, this note, this rag now is a piece called Hanuman. In fact, I'm going to ask Vandika to tell us a bit about Hanuman. I think I might have sung Hanuman here when I was here before. Geele and I are going to sing it in Taipei in 2 or 3 weeks' time, so I thought it'd be nice to— I haven't sung it for a little while. Beautiful to be able to play it with Akasha on the tabla. So would you tell us about Hanuman?
Yeah. So Hanumanji is a very special person in our mythology. So we have Hindu background, and you have heard about Ramayana. So Hanuman means devotion. Man who is, or he was having a shape of monkey, and he was totally devoted to Lord Rama. Just devotion. So his life was just the words of Rama, just looking at him, just waiting what he say and what can I do for him. He have done miracles in his life or in Ramayana, but we can't say like Hanumanji have done it because it was just, it's for Ramji, it's for everything is for Ramji. So if he say that bring some Sanjeevani from Himalayas, he will go to Himalayas and if he could not find, but my Lord wants it, so he will take whole Parvat, mountain, and bring it. Okay, you find it. And if you want to give a message, I will fly in the ocean, but I will do. So, and it is beautiful he always says, "It is nothing of me, it is just the power of devotion or of Lord Rama which makes these miracles happen." And he is wearing, when we say Hanuman, so the very furious energy, masculine, but same time the form of devotion.
Beautiful.
Thank you.
Thank you. So this is a piece called Hanuman Baiju. It endeavors to bring its form to life. So the participative part of this is tiri gidi dun dun, tiri gidi da. Yeah, so there'll be a point in this where I'll go— so we do it slowly this time. So tiri gidi dun dun, tiri gidi da. Tiri gidi dan dan, tiri gidi da. Okay, we'll do that again. We'll do it a couple of times and you'll be really so good. Tiri gidi dan dan, tiri gidi da, tiri gidi dan dan, tiri gidi da. Any questions? Are we all clear on this? Okay, you ready for the clap? Almost. Okay, it's just the two of you. Yeah, lovely. Okay. Hahnemann would be very pleased. He's here somewhere.
Ah! Ah! Ni sa ya ni—
ah!
Oh, are you ready?
On the road to Benares, temples ringing in your ears, speakers everywhere, devotees sing out your praise. Oh, mighty God. Teri ene sani, teri ani, ani bani bani bani bani bani. Ya ya na te ya re ka sa re ga na ba.
Oh, good, just one.
Teri yang na teri yang, teri yang na teri yang. I saw you in the cinema. Teri yang na teri yang.
Growing like a mountain.
Teri yang na teri yang. To protect Lord Rama. Tidigata, tidigata. Who lay wounded on the battlefield. Then your tail grew long and thick. Tidigata, tidigata. You set it on fire like a wick.
Tidigata, tidigata.
To burn the demons in Ceylon.
Tidigata, tidigata.
Or in prison, Sitara. Me about your feet. Whisper in my ear, you know, Hanuman, he will return.
Taboo solo.
If one day we burn this world, precious hands, they will hold one small piece of sacred earth to replant the jasmine.
Oh, wow.
We're going to sing another rag now. This rag is called Desh, and the last rag, Kamaaj, had the flattened 7th. This rag has both the flattened 7th and the sharpened 7th. So it has both. And in places there'll be this dance between the two 7ths which have a different feeling to them. They both bring their own fragrance. It's a raga of the monsoon time and of lovers, and we've sung it quite a lot together at times. And, um, yeah, we never know what will happen. Satya Robyn.
Misa ne ma pa. Mai! Oisa e Mai!
Mai!
Wanting for you— waiting for you! Wanting for you— we need for you! Long tears... Waiting for you, waiting for you one day, waiting for you one day. Waiting for you. Wanting for you.
Waiting, waiting, waiting for you.
For you. Wanting, wanting, wanting Only you. Waiting for you! Wanting to see your face again— waiting for you! Wanting to be there for you— wanting to hold you close again— I'm here just like before. You're my only hope now. For you, let the rain fall. Take heart, my heart is full. Oh, when will Mary stay full? My arms ache to hold you. Aah! Aah! Weeping for you. Wanting for you. Weeping for you. Wanting for you. Waiting for you, wanting you. Waiting for you, wanting you. Wanting you, wanting you. Well, are we going to have an interval?
Oh my God, no!
We're running out of time for an interval.
Oh, I didn't— we didn't talk about this.
What should we do?
I don't know. It's 9 o'clock already.
I know. I wonder if people might just want 5 minutes.
Yes.
Just 5 minutes.
Should we have 5 minutes and then have some bhajans? Yes. So a quick stretch. Sorry, we absolutely didn't talk about this. Thank you for your patience. So yeah, let's just have a little stretch of the legs. And then we can come back and Avantika Nikash will sing us some bhajans.
