Evening Program

Camping Parc des Libertés, Avignon (France)

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Musical program, camping “parc des Libertés”, on the island of Barthelasse, Avignon, France, 07-07-1990

Shri Mataji: Give her a chair.

Give her a chair otherwise she won’t be able to play harmonium.

Ah, [Hindi]

Can you keep it up there? Ah. On that.

[Hindi]

You can move that.

Come on. Have a sit there.

Sahaja Yogi: We would like to present you with a “Bharood” [Marathi religious song] by Sant Eknath. It’s a song that, in a style that is designed to teach people what will happen to them if they don’t behave in a, in the correct way.

In this particular song, Sant Eknath is talking about what happens to people if they’re not if they trick people badly. If they are, if they are rude to them if they cheat them. Sant Eknath gives example in particular of Duryodhana who took Draupadi and humiliated her in his court and it was eventually his brother, the brother of Duryodhana drag Draupadi into the court to be humiliated. And was eventually punished by Bhishma, punished by Bhishma in a dual.

In the same way, Ravana who kidnapped Shri Sita was duly punished by Shri Rama. And so on in many cases.

In reality, there are only four people that Sant Eknath mentions who are free from any kind of problem in his regard. For example, Bhishma and Hanumana those two are examples.

Sant Eknath concludes the song inviting us to be sweet with each other and not to abuse each other. Otherwise – cause if we do, then our fate is a very ugly one.

Babamama: Give me a microphone for tablas.

Shri Mataji: When standing, they will wait.

Sahaja Yogi: Yes.

Shri Mataji: So, all of you can sit there like this only.

Patrick!

Sahaja Yogi: Yes.

[Music starts.]

Sahaja Yogi: We have another song for you. This time it’s a village’s song, a folk’s song from Uttar Pradesh. The context of the song is a group of villagers on a way to a festival at Prayag in the month of Magha which is January or February. And Prayag is a place where the two holy rivers of India, Ganga and Yamuna, meet. So, in the first verse, the villagers are singing the praises of Prayag where the rivers meet, and for this reason, it’s a holy place, a place of pilgrimage.

In the second verse, they explain how Ganga comes from Haridwar, which is also a place of pilgrimage because Ganga has come down from the heaven in that place. So it has come from Haridwar, which is a popular place of pilgrimage, to Prayag which is also a place of pilgrimage.

[Music starts.]

Lady [on harmonium]: Come here, on the same line. You go a little bit that side.

Ok, very good.

Shri Mataji: Ah! This reminded me of my own marriage when I went to my husband’s house. They all used to sing like this only there. So, it’s wonderful, the way they have sung it, absolutely with complete pronunciation, everything, it’s wonderful. I was just enjoying it. Thank you very much. And I hope you all have enjoyed too.

[Applause]

Lady [on harmonium]: The group of students who are sitting in front of you, on the stage, have been learning classical music at Garlate house near Milano, I hope you – all of you know Garlate house. And they covered about seven ragas. Among these ragas, they learnt Marva raga which is the favourite raga of Shri Mataji. And they will sing what we call the chutta khayal [composition] in ektaal [12 beats]. First, they will sing the aroha [ascending scale] and pakad [melodic theme] of raga Marva and then sargam [singing notes].

Shri Mataji: Aroha is ascend

Lady [on harmonium]: Aroha is, are the ascending notes of the raga. And Avaroha are the descending notes of the raga. And pakad are the group of notes typical of that raga, so that the raga can be recognized when those notes are sung. And they are singing the chutta khayal in ektaal. And before singing the chutta khayal, they will sing sargam. Sargam, they will sing also in double rhythm. And chutta khayal, they will sing with alap and taans [first and second part of the raga].

I hope all of you will like it and Shri Mataji will also like what they sing in the present.

[Music starts.]

[Applause]

[Cut in the video]

Lady [on harmonium]: Is a prayer composed by Guru Dev Rabindranath Tagore in raga Bhairavi. “Antara Mama Bikoshito Karo, antara tara hey.” The devotee is praying to the God that: “Let my inner being be enlightened.” “Nirmala karo, ujjwala karo, sundara karo hey.”

Nirmala, you know: Shri Mataji’s name is Nirmala, pure. Absolutely pure.

“Mangalo karo” make it holy and make it beautiful. So, this prayer is being sung by the students who were studying semi-classical in raga Bhairavi and this will be the last song.

[Music starts.]

[Applause]

[Cut in the video]

Babamama: In a bus and we had a lot of discomfort in the sense that we were not feeling free. But when we came into this wonderful land of Italy, we were feeling very, very free and we were also feeling very hungry. Maybe, it has something to do with the Nabhi, I’m sure.

But then, in order to keep my Sangeet Sarita members happy, I was trying to sing a raga which is known as Chandrakauns. It’s a very, very dynamic raga. And close to that raga is another raga known as Malkauns. And there is a difference of only one note in these two ragas. And, as I was singing I was talking to Guruji and I was saying that if we add this note of one raga into another, I think we will create a beautiful raga.

And he immediately got up and he started singing with that additional note and a new raga was born. Just, just in the bus, a new raga was born. And then, we had to give a name and Guruji gave a very, very dynamic very sahaj name: he called it “Chaitanya Ranjani” [vibrations; to be rejoiced] which will entertain your Chaitanya.

This is a raga which is going to be played for the first time. Even in India, my sister will bear me out that this has not been played before, anywhere. So, you can imagine what’s a headache is done to this poor Babamama who knew very little about music. He’s gone so dynamic that he is creating ragas!

[Laughter]

[Applause]

Babamama: This will be played to you by one and only Guruji on the violin and our young artist Nasir khan.

Guido, could you please take down completely… as it is obstructing the view. It has to be removed completely.

I was discussing this raga with my other sister; where is she? I can’t see. She must be sitting on side. So, she was saying as to: “How could you create this raga?” And she herself replied: “It is because of your concentration in music.” “That, that is because you put your heart and soul in something and you will achieve.” So, when you have to have creativity, your attention is the most important equipment. So, you put your attention on something and you are bound to create if your attention is fully on that subject.

Out of the twelve brothers and sisters that we are, my dear sister is a subtle artist and was blessed with this voice and the gift of music and we used to have music every day in the house. I was a very playful boy, but in between, I used to go and listen to this music. And that has been registered with me and it is coming so helpful now so that we can transfer this culture of India through this music to all the Sahaja Yogis. It’s a tremendous feeling.

Now, I will first tell you as to what the two ragas are and then I will tell you how they have been blended. So you will be able to appreciate the difference.

First, a very brief introduction of the members of the Nirmal Sangeet Sarita who are on the stage: Sandesh Popatkar on the tabla.

Then our Guruji, mister Prabhakarji [Dhakde] on the violin.

And, two years ago this young artist Nasir Khan was here, he was then the baby of the team. He has lost that status of being a baby because he’s become, he is going to become a father very shortly. And- but his sitar has improved immensely over the two years.

And now I will ask Prabhakarji to first play the ragas as they are. The two ragas. Now, first, he will play the Chandrakauns. One minute, the tuning.

Now, this is Chandrakauns he is playing.

Now, this is the original raga, Chandrakauns.

Pakad notation.

Acha [Hindi]. Now, I’ll ask Nasir to play Malkauns.

See the notation.

The only difference of one note.

Now, the new raga. Only the notations.

OK. Now, the “Chaitanya Ranjani” for your Chaitanya. Thank you.

[Music starts.]

Antonio, people here can come here in the front.

Shri Mataji has suggested a new name for this raga. Since this is a gift from the disciple to the guru, and guru is synonymous of “Purnima” that is the full Moon, Shri Mataji says that this raga should be called “Chaitanya Purnima”. That means –

[Applause]

I think this is the biggest award a disciple can expect from a guru, that She has blessed this raga with a very wonderful name.

Jai Shri Mataji.

[Applause]

[Here comes the second sitar player, Nishat Khan, with his tablas player.]

Nishat Khan: You are lucky because Shri Mataji is speaking about you.

All of you.

“Chers amis, bonsoir”. [French meaning “Dear friends, good night.”]

[Applause]

Thank you.

[No sound.]

Because I wanted to drive in Rome, I wanted to drive, so I said: “We will take the car.” So we took the car and as you know that it’s very difficult to find parking in Rome, like in Paris, yes. More difficult. So, for about twenty minutes, we went around, around and around, looking for a parking place. Twenty minutes later, I suddenly noticed a small gap in front of the restaurant. I took my car and I went into this gap. And in front, there was a poster of Shri Mataji smiling.

[Laughter]

[Applause]

The smile on that poster was very knowing.

I’m very- I’m very touched and very moved that we have been chosen as one of the musicians to play in this elated evening. Indian classical music is based on ragas, melodies which we call ragas, and ragas are emotions, ragas are mood, it’s an emotion. And different ragas have different emotions. And this evening, I chose to play a raga called Puriya, raga Puriya.

[No sound.]

Shri Mataji: Tomorrow is, as you know, we are going to celebrate the Guru Purnima. And all these artists, whom you see here, have become such great artists because of their dedication – of course through the art- but through their gurus. Complete dedication. And this is the key of their success: complete dedication to the guru. And to master any art, you have to have dedication and surrendering. And that’s how these people have achieved such heights of perfection. That they have followed their gurus out and out absolutely, completely surrendering. And that is why today I’m happy that we have so many artists here, especially such a great artist of such fame before you. But if you ask him, he ‘ll tell you that he had to go through penance to master this art. And his own father is his guru. So what a difficult situation must be for the father of for the son. But as far as the art is concerned, there is no compromise. In the same way, as fas as spirituality is concerned, there is no compromise. Maybe, your guru is your Mother, but still, no compromise.

So, may God bless you.

[Applause]

[Music starts.]

Thank you very much for appreciating him so much. Actually, it is a tremendous speed, you see, the speed with which and the balance. Balance and the speed. We are living in an age of, we are living in an age of a jet, you see, we’re living in an age of speed and in that speed, we have to keep the balance and the rhythm. That’s what you have to learn is to keep the balance and the rhythm and then you have to come to the first beat, that is the Spirit. So, how you are bound, may go anywhere with any speed, keep the speed, keep the balance and come back to the same first beat which is the Spirit, is the- that’s how it works out.

And the speed with which he is playing, I tell you, this is a very great, modern also, a kind of a blessing that there is a speed in the atmosphere. And everywhere there’s speed and – but in that speed to have the balance is only possible when you practice what you call “riyaz” is quite deep and you do it with your whole attention and whole heart. Then only, otherwise it’s not possible such a speed that he has. What a tremendous speed! [Hindi]

Speed [inaudible] -you see, have you noticed the speed with which he was playing? And have you noticed the balance that he had? And how he was rhythmic?

Rhythm, he never missed, you see, he’s very good as we call it the [inaudible]

[Shri Mataji laughs] like.

So he is, tablavala is another-

Babamama: Tablavala is very sahaj Mother.

Shri Mataji: Sahaj! And he is absolutely relaxed and he is playing so well. He’s beautiful.

And that is what kind of a tablavala you need for a music like this where he has to be most unassuming and he is supporting all the time the artist, should be the point.

I’m very happy you all are enjoying it so much and that you are appreciative of him cause, after all, it’s a – we have been brought up in this kind of [inaudible] style. In my family, from my childhood, I have been earing nothing but classical music and all my life. I’ve never known even one minute in my house then, where the music is not there: somebody singing in this room or somebody singing in that room, whatever may be the situation, there is music on. So, for my ear it is tremendous but to my heart also. And the way he has played, I must thank him very much on your behalf.

From his heart, he has played, from his heart.

Nishat Khan: It’s only to her presence that this can happen. You all know this also.

[Applause]

[No sound]

Nishat Khan: “Avion” [plane] means “air” isn’t it? “Wind” in French. “Avion” is wind.

Babamama: He says it is “guide” “avion” is “guide”.

Nishat Khan: No, “avion”, “avion”.

Guido: “Avion”?

Nishat Khan: Is what?

Guido: “Avion” is airplane.

Nishat Khan: Airplane. There’s a lot of “avion” in the Avignon.

[Laughter]

Shri Mataji: If you see, the sitar he has got a rakhi to it, you see? You all know what is rakhi is. So the sitar is his sister. And the sisterly love is the purity of love, absolute pure love, you see. And the sister is the protector of the brother. So, this is how they tie rakhi to a sister, you see? I hope you have noticed it.

[Hindi]

Shri Mataji: There is a circus on and it’s a nice contrast to see the difference between the two.

[Shri Mataji laughs]

Shri Mataji: This is the raga which is called as Durga as you must have heard it before also, and it’s quite a difficult raga and also it is only with the five notes it is played and there are very few ragas like that. And one of them is Gunakali raga which is also played with the same style. And I was surprised that in certain countries, they only know one raga. Like Bhairava, it’s a- it’s the only raga they know in Iran. Whether it is morning, evening, afternoon, they sing just that one raga is Bhairava. And I was surprised, I heard Gunakali in Japan.

Nishat Khan: Ah, ah.

Shri Mataji: Japanse have only idea of Gunakali, I don’t know how they got it. But only Gunakali nothing else.

Nishat Khan: Absolutely.

Shri Mataji: Absolutely. That’s all. One raga they are masters.

Nishat Khan: They are mastering that raga.

Shri Mataji: One, but morning, evening, [Hindi].

And in a way, these ragas are morning ragas. Bhairava especially is a raga all the time they sing without any discrimination. But this is the time for Durga really. Just before awakening, the mother is calling that: “Get up now and meditate.” Ah! How beautiful it is, just see.

[Music starts.]

[End of music.]

Shri Mataji: Now, their last raga is Bhairavi. It has to be played in the old traditional ways and it’s a raga that is in praise of the power of, we can say, of the Spirit. Because it is a- it has such beautiful notes and [Hindi]. Notes which are – it’s a complete “sampurna” it’s a complete “aga” it’s a “Purnima”. Hey?

[Babamama in Hindi]

Shri Mataji: All the twelves notes are in it. So, you see, it’s such a complete raga and it has to be played in all due respect to it.

Babamama: And it is a ragani Shri Mataji.

Shri Mataji: It’s a ragani regarded as you see, because – [Shri Mataji laughs].

Now, as you know that the heart chakra has got – heart chakra has got twelve petals. And the Durga resides on the heart chakra. Now, the Durga’s qualities are that she is protective of her children. She’s very gentle, very soft with her children. And she is extremely horrifying to the crooks, to the satanic people, to the negative people.

So, in this raga, I think because the- there are – it’s spaced out, the notes are spaced out. So, either you could play it slow or you could play it fast. Nothing in between. That’s why it is on a Durga style, you see. Either she’s extremely gentle or she is extremely horrifying. So, because she has a double function, is one is to look after her children and another is: protect her children from the devils.

So she has to be very quick about it to fight them and to, in every way, to frighten them and to be alert about them.

So, in the second part, you all became very alert I saw it. The first part, you were having a lullaby because it was the mother’s love that was playing. But the second part, you became alert because she has to fight. Now, this is such a nice raga because it gives you a better sense of security within yourselves.

Will give you a sense of security. And also as you know, medically that it’s important to build up this chakra because that gives you antibodies created more so to fight all the diseases, to fight all the foreign things which try to attack us. So, this raga is so apt, absolutely apt for today’s atmosphere and for today’s need, that we have to have the security of the Mother and the protection of the Mother. And that all the evil forces must be finished from this world. And that’s how this raga has a very great significance and I thank you very much for feeling this raga, see.

[Applause]

This is the now last five minutes he would like to play, he asked the Bhairavi which is a complete raga as you can call, is the complete Purnima. All the – all the notes are there. And it is played in various ways, is in various styles and is used for so many expressions of your feelings and things.

But in this also, there’s a beautiful one of a song as you know, Dayani Bhavani is the one which is a song about the Mother Goddess. And in this [inaudible] there’s a little mixture in the- I don’t know if it is an absolutely pure Bhairavi or not.

[Hindi]

It is to be played absolutely in Shuddha Bhairavi.

[Hindi]

It should be played in absolute Shuddha Bhairavi.

[Hindi]

It is to be played absolutely in pure Bhairavi. This is the best way because Bhairavi is the name of the Goddess. So, that will be the-

[Hindi]

So, this is the purity of it, purity of it creates that feeling and that- I mean it awakens that Deity so that you get that effect with the Bhairavi.

[Hindi]

Ah! She, my sister is accepting that they may make some mistakes in the Shuddhata [unsure].

Which I detected, you see, I’m not such a musician as you are, but I did detect that there’s a little bit [inaudible]

Indian music has such a lot of freedom, I mean, such a lot of freedom. Ah! You can do what you like with it but only thing that you have to keep to the ragas and you have to keep to the “swaras” [notes] and everything and you cannot just go crazy from one to another like that.

So, it is like a big aeroplane which is going in the air with everything completely fixed properly, you see, so it can go anywhere. Unless and until you it’s fixed by its own maryadas, it cannot go. So, that has to be there. So, first the ragas are built. And built in such a way, that they are absolutely perfect. And then you can go wherever you feel like. And then you can go wherever you feel like, nothing will happen.

[Hindi]

Babamama: Then it will become jazz Shri Mataji.

Shri Mataji: Jazz. Or even worse than that, could be.

Ah, ah.

First, he will play all the twelves notes which are moved in Bhairavi. And then you see how he keeps to them. He keeps to that mood that way.

Woah, wah.

It’s the heart chakra. it’s the heart chakra of Shiva.

Surrendering.

The surrendering, you see, as Islam means “surrender”. Islam is the “surrender”.

He’s been calling [inaudible].

Now, this is the call [inaudible].

Shri Mataji: What an enjoyment! What an enjoyment!

Tremendous!

Please, be seated. I have to especially thank him for one thing that he has now prepared really for you, the Guru Purnima for you. He’s worked it out really very well. I can see that, I can feel it. It has worked within ourselves that depth and that beauty. And now with music, you see, it’s this excavation within ourselves, you see. Facing it within yourself. All these things with music become not only harmless but also so gentle, that you don’t feel that it is happening. It just works. You see, the- like very gentle waves you see, it works within you and you start developing that personality which is very important for a function like Guru Purnima. And the beauty and the joy, they all work it out so beautifully that you don’t feel that it is all working, but I know it’s really. But, supposing, if I say something as a Guru, maybe I may hurt you. You may feel upset and you also may feel facing yourself a little bit, sometimes reluctant maybe diffident. You might feel little sort of dejected or depressed. Or you may feel sometimes also if elevate you, you might feel egoistical, you see.

So the words could be, could not render service as properly as the notes can because the notes just penetrate within you and work it out so smoothly that you don’t feel it’s working there. It’s working no doubt. It’s like mantras it works, like mantras only. And when it’s enlightened notes, it has a great effect. I haven’t brought you photographs where, when you are playing before Me, you go into complete lights. I have got those photographs with Me. Of course, also we have got the [inaudible]. And we have got photographs, now, tomorrow we will be able to show you, where the lights change their forms, how through vibrations, how they change their forms, you see. And how the vibrations work it out, you see? But the, even the notes are used by vibrations as “vahanas” [vessel]. The notes are used and the notes take the vahana’s position and they penetrate.

When there is somebody: you are singing before a Realized soul or an evolved personality, then the Chaitanya flows within you. But notes are very helpful, I’ve seen, the beautiful notes, and in harmony, you see. It’s so much in harmony with you, that you don’t feel the penetration. You don’t feel the injection, you don’t feel the going within you. Just it works and it just moves and I was seeing your brain also opening out quite a lot because the heart is so much connected with your brain now, you are integrated. So it’s wonderful and you are all becoming thoughtless and beautiful. I think you all have enjoyed his things and we have to thank him very much because our Guru Purnima day that he agreed to come and has done the job halfway for Me. I’m thankful to him that now, even if I say something, you won’t feel hurt.

[Laughter]

[Applause]

It is nice to be a Mother. Mother is a very easy thing, it’s to just to express your love and the children are nice. But for a Mother to be a Guru is the most difficult task. And that, if I have to do, a Mother to be a Guru, then I think this preparation is a very good idea because first of all, now, you are smoothed out and you are much better so it’s all right, as a Guru I can tell you some things. Otherwise, for a Mother to be Guru is the worst thing that she can do and to act as a Guru but sometimes, you have to be corrected.

But I think this one has created a beautiful atmosphere and I am very thankful to him for this preparation of your minds and your brains.

Nishat Khan: We are very honoured and, as I said in the beginning, I’m extremely honoured. And, of course, it’s very difficult to use words on how I feel at this moment. Because to be invited to play for Guru Purnima is a great blessing for us. And it’s your blessing and it’s a great honour and we would have been very disappointed if you had not invited us to play today.

Shri Mataji: I was anxious that you should be invited actually.

Nishat Khan: Thank you.

Shri Mataji: That you should be here and you should do this because you see, if you have seen the mid-career that you do, with that you were pulling the strings of their hearts, I could see it clearly the importance, you see. Some or other, I thought I can work through you better than through my own words. It’s an indirect way of working out things like this and you have been very, very helpful, cooperative.

Nishat Khan: Bas

Shri Mataji: I’m thankful to you for this wisdom. So, I don’t know how to also say something about Indian music. But I can definitely say that the way you are appreciating Indian music is really very creditable. I just can’t understand really how you people are so much appreciative of this music. I’m just- it’s the Spirit or whatever you may say something remarkable and even the artists are so enamoured by that. To see such a –

Nishat Khan: Absolutely.

Shri Mataji: Absolutely. They’re having rapport and all that. They are very much enamoured by you.

Nishat Khan: Wonderful.

Shri Mataji: And they are very thankful to you the way you are just following every note and every movement with such intense concentration.

Nishat Khan: But it’s your blessings Mataji, it’s your blessing that this whole atmosphere

Shri Mataji: Yes.

Nishat Khan: worked out like this. Otherwise…

Shri Mataji: Really more for – I don’t know whom to thank. You or their aim. But I think it is mutual thanking is needed because you were enjoying him and he was enjoying you. Otherwise, it would not have been possible. Without a proper audience, artist also doesn’t get the encouragement to play so well. [Hindi]

Audience has to have a rapport otherwise

[Hindi]

You have not put anything for the Russians so far here? [On the map]

Nishat Khan: There are too many there, it seems.

Shri Mataji: Just simple thing like that. Moscow and then Kyiv.

Guido: Moscow, Leningrad.

Shri Mataji: Kyiv also.

[Hindi]

A little gift for him from you all.

Only what I can tell him is to keep the music on.

[Hindi]

[Applause]

So, now for- what should I say?

“Good morning” to you?

[Laughter]

I think still that will be about- till twelve o’clock you can have rest. Then we’ll see you. All right?

May God bless you. Thank you

[Hindi]

Shri Mataji: What an enjoyment! What an enjoyment!

Talk with subtitles at : https://youtu.be/NcI7HK471xo?t=19287

Second video: (camera 2)

Please, be seated

[Hindi]…

Lady [on harmonium]: Don’t cross the limits of Shri Mataji’s chair. You, there. All right.

Sahaja Yogi: So with Shri Mataji’s blessings, and thanks to the teaching of Maushi [aunt in Marathi] , we would like to present you with a Bharood [Marathi religious song] by Sant Eknath. It’s a song that, in a style that is designed to teach people what will happen to them if they don’t behave in a, in the correct way.

In this particular song, Sant Eknath is talking about what happens to people if they’re not if they trick people badly. If they are, if they are rude to them if they cheat them. Sant Eknath gives example in particular of Duryodhana who took Draupadi and humiliated her in his court and it was eventually his brother, the brother of Duryodhana drag Draupadi into the court to be humiliated. And was eventually punished by Bhishma,

Lady [on harmonium]: Bhishma, Bhishma [Bema]

Sahaja Yogi: Bhishma [Bema] who was punished by Bhishma in a dual. In the same way, Ravana who kidnapped Shri Sita was duly punished by Shri Rama. And so on in many cases.

In the same way, Ravana who kidnapped Shri Sita was duly punished by Shri Rama. And so on in many cases. In reality, there are only four people, that Sant Eknath mentions who are free from any kind of problem in his regard. For example, Bhishma and Hanumana, those two are examples.

Sant Eknath concludes the song inviting us to be sweet with each other and not to abuse each other. Otherwise – cause if we do, then our fate is a very ugly one.

Babamama: Give me a microphone for tablas.

Lady [on harmonium]: …For their very kind and very appreciate for their treatment, and everything that they did for me and my daughter I have no words to give them my gratitude. And then I need not add that my greatest thanks are to Shri Mataji.

[Applause]

[Music starts.]

Babamama: Shri Mataji has suggested a new name for this raga. Since this is a gift from the disciple to the guru,

and guru is synonymous of “Purnima” that is the full Moon, “Chaitanya Purnima”. That means –

[Applause]

I think this is the biggest award a disciple can expect from a guru, that She has blessed this raga with a very wonderful name.

Jai Shri Mataji