Evening Program before Adi Shakti Puja 1993
You see, there are small children here, so I was thinking the children should go after their program, before the danse to Daglio. And some ladies should go with them because they will be fast asleep. Some ladies can join them. And the rest of us can stay here for the danse. Because they were saying it will be very late for the children to go. All right.
Whenever you feel that children should go, you can go to Daglio. But best is you can wait in there, in Palazzo Doria, you can wait there. If children are troublesome or anything, you can take the children to this house of mine, wait there until everybody assembles, then you can take your children away. All right? But I think they will be all right.
May God bless you.
Shri Mataji: … And not so much of Bharatanatyam, it’s true? [Hindi]
But in that one, it had the jalat of Odissi, Because, you see, Gita Govind is mostly done by Odissi people. And they don’t have steps like them, [unsure] too much movement of the body. I was wondering about it, doesn’t matter. So, the Odissi danse is another style but this Bharatanatyam danse also, I think you saw it when you were in Madras last time, when we saw that Ramayana. That was the same. And the Kuchipudi is another one, which you know that our children are learning now in Dharamshala which is also a very dynamic danse, Kuchipudi is. And our children are from all over the world, are learning it in Dharamshala, this Kuchipudi. We’ve got some students from there, the school where all these [inaudible] and all these people have studied. Form there one lady has come to teach them. So, now we have, you see, this style, that they did, is a very special Bharatanatyam.
The last one is the “tilana” part. You see, it has a little connexion with Maharashtrians because Shivaji has a brother and he was given a jagir, as they call it, an area to rule, Nagapattinam. Then he went there and he started a big library there and there he started doing this Bharatanatyam “tilana” part. Now it comes from the word “tarana”, as we have “tarana” in the note, you see, where you have heard “taranas”, when the people sing two, one particular tala [rhythm] and only the notes are sung. And it can go very fast also. The same thing, he changed it into this and he really created a lot of patterns in Bharatanatyam. There is one [inaudible] girl who does that. I don’t know if you have heard about her, she does all that dancing.
So, there has been quite a give-and-take. But the purity of dancing has been kept somehow, which is a very good thing because you can get varieties and you enjoy it much more by them.
On the whole, this is a very divine danse and it creates very divine feelings and also, it’s very good for the growth of your divine attention because you start living in another world, you see, when it is going on and you start seeing Shiva, Shri Rama, Shri Krishna and all these people. Just praise like that and you start having a rapport with the dancer and you also enjoy that thing where they are all praised so much and appreciated.
You all being Sahaja Yogis, you know all about them, nothing has to be explained about them. But the way they have performed is very interesting. For example, Shiva’s description that he as given is very true and that there was a demon and this demon was afraid of the Mother, you see, he thought that if Bhavani decides it, she can kill him. So, he takes the form of a dwarf, of a child so that the Devi cannot kill him. So, Shiva said, “All right, if you don’t kill him, I’ll kill him”. And he killed him but people don’t understand when they see, say, a God standing on top of a child, they can’t understand, “What sort of a God is this one?” So, but this is very deeper to understand the feeling of a Mother that she can’t even kill a rakshasa who is a child. So, Shiva has to say that, “All right, I can kill him because he is a rakshasa after all, he is to be killed.” The whole understanding is that it is so much related to Sahaja Yoga. The whole story is related to us, it’s all within ourselves, all these deities are there, all these chakras are there. And if you understand the expression of all, or the manifestations of all these dances is from some Realized souls. Because the way they describe, the way they say things is absolute truth, you see. It’s absolute truth. Amazingly, how they know, little, little things about all these great events that took place thousand of years back. Of course, there are books and things written down. But from that also, they have taken inspiration. But also, some of them are extremely spontaneous.
Now the Meenakshi temple thing that she did was another very great thing which I liked, because I said I thought it was Odissi style. But it was the praise of the Mother in the sense that, what she has done and how she is and it’s the- you see, this temple is one of the most beautiful temples that we have of Meenakshi. Unfortunately, we have not been there. I wish I could take you some time to see even this temple, it’s down out, you see.
But Kanchipuram you have seen the temple, in Kanchipuram that she’s described. So, this is all, you see, sort of a coming out of the beautiful incarnations that we had in that Yoga Bhoomi. And these incarnations expressed in danse, it’s something it’s so joyous because it combines so many things it has.
As he said, there’s a bhava, there’s a tala, there’s also the ragas. And the whole thing becomes such a synthesis of all the beauties of Indian music, say, Indian [Sanskrit] the expression of emotions and also of rhythmic patterns. And the kind of rhythmic patterns that we have, you know it very well – I’m so happy, I bless both of you very much for which your [inaudible] and I think everything will work out. If you need anything, please let Me know. In every way I’ll be there to help you for any creativity, for any explanation, anything, I will be able to tell you everything that you want and whatever you need otherwise, also, you can ask Me. All right?
May God bless you.
Ananda Shiva, Ananda Shiva, Ananda Shiva.
Another thing I wanted to say that Austria has suddenly taken a big leap into creativity I must say. I remember the days when Gregoire wrote to Me, “Mother, I’m absolutely bored, this Austria is a horrible place, you see, I just don’t want to live here. I don’t know why you have asked me to come here and all that. I have no Sahaja Yogis here. All horrible people, all drunkards and all kinds of things”.
And then, to my surprise when I reached there, I found so many of them, so many beautiful Sahaja Yogis and now I think we have lots of them in Austria. They are very, very creative people, they are very talented. I don’t know, this time I miss their “samuhanand” [the joy of collectivity] as they call it, you have the choirs, you see, it’s beautiful the choirs of very high level, a very great expertise in this.
And I think that’s why Mozart was born there in Austria, because he is the [inaudible] factor. Moreover, I’ve seen some plays also played in Austria, you don’t know where this- which one was that?
Sahaja Yogi: Luxembourg.
Shri Mataji: Luxembourg. You, there you could see these people because they were very creative from the very beginning, I think. And the music especially was one of the great parts. They have such beautiful also drama talent, you could see that the way they played their drama with such ease and with such comfort. So, all these great qualities of the artists as you were saying so. Today only I was saying that somehow the artists, the Lakshmi and the Sarasvati do not go together. So, sometimes the artist has to suffer financially. But we’ll see after Sahaja Yoga that all the artists will be very much valuable and they will get the reward of what they are producing. Because this is something coming from divine and this gross world doesn’t understand them. But a day will come when the world will become very subtle and all of them will enjoy their creativity very much.
Now, tomorrow, somehow or other, it was such a nice thing that we could see this beautiful dancing and the creativity of our spontaneous creation from Austria. But thanks to mister Rachid Khan who could not come today [laughter] that we had such a lot of time to enjoy ourselves. This mister Rachid Khan, I don’t know, he got stuck somewhere and big problems with his coming and they changed one from another and we gave bandhans and bandhans. Ultimately now, he is coming. So, tomorrow, maybe at nine o’clock, we’ll have his music. But he is a very well-known musician, I’m sure you’ll appreciate him. For that, I have to request that you will have to leave after the music from here, which will be little late, if you don’t mind. If you could stay on for the music, it would be a nice idea because he is supposed to be a very well-known musician. And by chance it has happened that so many strikes, things and just he could not come. He is coming now all the way. So, I think we should do full justice to his art and respect him by a little bit delaying your departure from here. I hope you’ll do that much favour.
So, for today, I think, we shouldn’t say goodnight, and tomorrow’s morning program, I hope you all know that you have to have a very fast and lots of breakfast. Because they may not be any lunch except for the prasad. So, better have a good lunch, don’t starve, in the morning time that means a brunch. [Laughter]
And then we’ll be having – puja should start by eleven because if we have to give chance to this- it has never started so far, let’s try tomorrow. All right. May God bless you.
With the German meticulousness made.
Thank you very much, thank you.