Evening Program, Eve of Christmas Puja

Ganapatipule (India)

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Evening Program, Eve of Christmas Puja. Ganapatipule (Maharashtra, India), 24 December 1998.

It is very difficult to describe this inner joy. You can only enjoy it, you can only feel it. It’s something so innate to see that so many of you have learnt this difficult music and all of you have been enjoying it.

I went to various places in the West and I felt that, “Why even small little children, boys and girls, take to something which is self-destructive? Why? Why do they take to drugs? Why do they take to all these things which are self-destructive.” I mean, you could blame the parents to some extent but on the whole, there was something within them which was troubling them, which was trying to say that, “That’s not true. That’s not the thing, that’s not the thing that you want.” And that’s what made them go into all kinds of various types of rebellion, I should say, against all the accepted truths or accepted goodness or value system.

And I just thought that, of course, in India the parents are rather strict, I must say ‘right’, but there’s one more thing in India: there’s a big outlet for them and I found that outlet was the talent that they had. They had lots of talents, all of them, I felt when I talked to them and this and that. I felt that they have lots of talent but there is no way to express it.

Certain people have been doing some sort of an haphazard expression, I should say. And they could not understand themselves why they were doing it. And this was the main thing that was lacking, I think, in the West that the children had no way of expressing themselves, of expressing their talent. And this talent was making them mad, I think, that was making them absolutely rebellious. It was not their mistake by any chance, it was an energy within

which was bubbling and had no outlet. And whatever outlet they had was not recognized, was not appreciated.

And this made Me feel that if these children are given an outlet, a means of expressing themselves, I am sure they’ll take to it. They’ll forget all these things, they’ll never take to all self-destructive ideas because they were angry with them, I think. And it worked; it worked in the sense that first I wanted Yogi (Mahajan) to start a school for small children. And I was surprised how these children took to another kind of lifestyle, very disciplined style and… they were very different children.

Like in the West I found a child, supposing you take him to the shop, he’ll make you mad because he will say, “Buy me this and buy me that and…”, not understanding that one cannot afford it. And left to himself, I would say, that he would go on buying the whole of the market.

He was so mad about it. But I thought that there was some sort of a thing that’s lacking in him, in satisfaction. On the contrary, in India if you take one boy or a girl to the market, they’ll say, “Bas, bas – only one, one will do.” Big, very big problem.

I had My own granddaughters, I took them once to Delhi because they had broken their chappals [slippers], you know, and they had only one pair. The parents have else to do, no problem, but one chappal of that was broken, I said, “All right, you come along. Now in Delhi you can get good ones, we’ll buy from them.” So they came and I bought for them. They said, “Nanny, at any cost we’ll not take the second one. We’ll just take one.”

But I said, “Supposing this breaks. Then what will happen? Then you will come back again to Delhi to buy chappals? Have one spare at least.” They wouldn’t listen and they ran away into the car. I went there, I said, “What are you doing? Why don’t you buy chappals for yourselves?” “Why do you want to waste your money, Nanny? You can use it for something else.”

Now, I was surprised the way they were so satisfied. Of course, they are born realized, no doubt, but also the whole atmosphere. I felt that this atmosphere if the children from the West can get, they will definitely prosper, they’ll definitely express themselves and they’ll become excellent people. But I didn’t know their energy was so much, you see.

After, My brother – your Babamama – I asked him, “Why not start an Academy of music?” And when they came to music, I was surprised. I was really surprised when we had not expected anything from them, within three months, within four months, they picked up such a difficult music style. It’s impossible, it’s impossible for Indians to do that. They can never do [it] in four, four months time.

Oh wow, I’ve seen in My own family, there were musicians and My sisters, My brothers, for hours together… Every morning they used to get up at about five o’clock and start their music. Every day rehearse for three, four hours, every day. And I used to think, “Now, when will this end?” I mean, after all, if somebody has to sleep after 5:00, you can’t, just can’t sleep. But that’s a custom in India to get up very early in the morning.

But the way these people are learning it so fast, it is because that urge to express themselves was inside very, very strong, much stronger than Indians. Just imagine! I can tell you very clearly, I have never heard of anybody learning this difficult music in three months and four months. For years together they would not learn.

Same about you people: How you have started appreciating it, I just don’t know. I mean, it’s a different atmosphere that has started, so full of hope and joy.

You see now, there was one fellow who went to Belgium. He was an Italian, Italian Sahaja Yogi.

He said, “Mother, I was surprised. There was a nice program with the Indians, and the Indian Consulate had arranged, so I went to the program. And they were talking to each other and some of them went out, some of them came in, these Indians. They never understood that it was Pilu rag while they couldn’t … (unclear). Even an ordinary Pilu rag they cannot recognize.” I was surprised that this Italian, that he… What he’s saying is really, I’ve seen it.

The Indians when they go for this kind of a very deep type of music, after 15 minutes they start slipping out. Also they told Me that in England they went to a music centre or we can say for the buying of the records or something. So, all the boys who were there, who were Indians, were buying pop music, that music. And they looked at these Sahaja Yogis, they said, “Are you stupid fools? Why are you buying this music, this Indian music? What is there in this Indian music?” They said, “It’s better not to talk to you because you are gone cases.”

Now, you see because, somehow or other, this is a Sahaj trick idea that your Energy’s tuned up to a very subtle and deep understanding of music. Otherwise, it would never have worked like this.

I mean, is the Kundalini, of course, no doubt. But the way she has nourished you to absorb, to understand, to enjoy. This is very subtle music. And it has happened more with the Western people than with the Indians, I’m sorry to say it.

But Indians don’t have that much of understanding, nor that much of enjoyment. Westerners may not, may not understand but they enjoy. Indians will, those who are, I mean, a little bit educated in music, will start finding out faults, finding out ragas, “This was not good, that…”. No, but not Westerners: Western people are so humble about it.

Isn’t it remarkable how is it they have picked up so quickly and have understood? Because they have become subtler. This is the only thing I can say: they have become subtler and their energies are flowing through the subtler level. It’s surprising for Babamama, also for Me, for everyone that in three, four months how can you play Malkauns rag? First time I heard, I started wondering, “How can that be?”

And that gives such a hope to save this music. It may be that in India it may be declining, but in the West it’s rising. Is the other way round: The Sun rises from the East and sets on the West; here is the other way round now for music and I would request all the Indians to develop that subtle understanding. You see, say if you are a honeybee, only then you can suck in the honey. The flies cannot.

So you have to develop that sensitivity, I would say to Indians, I’m sorry to say that you have to develop that sensitivity within you, which is possible through meditation and through Kundalini awakening and balancing and ultimately getting connected with this all-pervading power of Chaitanya. Because Sound is the second state. First was, of course, they said the Word. But it was silent, came into Sound and if you can understand the subtle of the Sound within you, if you can get one with it, it gives you that joy.

But you will be surprised, I have never studied music, never, all My life. Because, you see, I don’t know why but somehow I never studied because I could not have a guru, this is the problem is. I couldn’t have a guru. So somehow or other, I never studied music. But what I have is the same as you have now is the subtle enjoyment sense of music. And that’s why I said this is divine.

Of course, I also enjoy some pop music, also enjoy western music very much and the Western great composers I enjoy, no doubt. But this music has one speciality – that nothing is written down. There is no composer. The musician is the composer, he is the player and he is the book. It’s so individualistic if you see that, but today I was happy to see all of them.

This is the western side of it that so many of them put together were singing, you see, like a choir but not so bad as that. And in the choir, you see, because I have attended many choirs also, it was too systematic, too disciplined; this is not. Here it is complete freedom within themselves. And the whole thing worked out so well, I mean, it’s such a good combination of both the things. One side is the music, another side is the collectivity.

So I have never said a word about Baba’s University or Academy, but I told him that, “I’m very proud of you.” (Applause) He has very lovingly brought up this Academy and has that character of our old guru system which is very important. That keeps the whole place very holy, as you call ‘pavana’. And that is working out. He is working very hard. I know Baba is working very hard, and all of you are working very hard to help him. But this Academy will definitely, I’m sure, one day will give that universal knowledge of that subtle thing I am telling you about. (Applause)

I know it is late today and tonight, I should say, but I am used to this more, because, you see, in our – when we were young – My father was so fond of music and musicians that so many times we have slept at about five o’clock in the morning, so, [it] makes no difference to Me. Same I find in you, people, that you are, the way you are enjoying.

So we have great hope of saving our young people who are going astray, people who are frustrated, people who are unhappy because they have no satisfaction; people who are committing suicide in the affluent countries. Also in our country people who are becoming politicians, I think, that’s the worst thing that can happen to anyone. Also we have people who are doing all kinds of criminal things, doing all kinds of violence and everything.

All that can be completely covered with the ocean of music. And if it is done by Sahaja Yogis, it would be such a great emancipation for the whole world which is absolutely due and it is going to work out.

So I am thankful to Babamama and to all others who are supporting him in this and I hope you all will enjoy this music on a very subtle level. Because immediately with the mind which reacts, one starts discussing, arguing, condemning also. That’s not the way to understand this music, but just to enjoy it. Enjoyment – it hasn’t got two sides – is only enjoyment, single, and that should happen to you, all of you.

I am so much, so much overwhelmed really by this beautiful renderings we have had. For example now we had from Aurangabad. I mean, I can’t believe that in Aurangabad you could have such beautiful dancing.

This Mr. Aurangzeb (Laughter, Shri Mataji laughs), after whom this name is given – Aurangabad. [Marathi] (Laughter) I don’t know why it’s called Aurangabad, whatever it is. He was such a horribly fanatic man and every day he used to kill so many Hindus.

And when… Thank God he was a thin man. He was weaved in their thread, Janaeu thread.  How many were killed, you know. Imagine what a cruel man he was, and under his name is this Aurangabad. If you have to change any name in this country, it should be Aurangzeb and Aurangabad. (Laughter, applause, Shri Mataji laughs)

And he had no sense of music, he never used to listen to music, you know, but he was extremely honest; that’s another point about honesty. And he would not take any money for his survival from the state. He used to stitch topis [hats] and sell them. Can you imagine? If he had not done that and had been little bit loving person, would have been much better.

But from that Aurangabad comes this music and dancing. I was amazed. I thought, “How can it be?” How did they call it Aurangabad, I don’t know, but he’s the one who hated music. (Shri Mataji laughs) How could these people be born there? And what dancing they showed.

Also you have seen the Kuchipudi from Baba, the Institute was another one. It was just, I hope, now I don’t know. These are girls from, absolutely from countries where they have never known all this. And in such a short time to learn such a dance like Kuchipudi, is the most difficult dance, very fast. “My goodness!”, I thought that, “What has happened to them?” And you may say, “Mother, this is due to Sahaj”, whatever it is, but Sahaj also is to be borne by you people.

Now if you have a very small little candle, how much it can burn? But these are like the ocean of energies and the way they are expressing themselves is remarkable. Of course, I love you very much and it is not out of that love and admiration I am saying this, but it’s a fact, is a reality.

I, I had no idea that one day it will go that well and this global movement is going to work out wonders. You must spread also the music along with the vibrations. I am sure it would be good. Really, for definite. (Marathi) (Laughter, Shri Mataji laughs)

And you can’t believe, I asked Babamama, “Who is, how is it?” He said, “Only four months time.” Everybody four months. (Laughter, Shri Mataji laughs) Very remarkable.

Then we have one from Spain. I saw him playing Spanish, but Spanish rhythm I don’t understand much because it goes hectic, you know. (Laughter) It is very fast, sometimes very slow, but it’s very rhythmic, but is hectic. Ours is very much, I should say, disciplined. Whatever it is, he also is playing so well.

So there are so many examples to show, that you may be from the Western country. It’s better to be from the Western country now for music than from this. I can’t understand really, it’s a, it’s a miracle, but why should this miracle work in the West and not in India I don’t understand.

Though I am sure the Indians are enjoying this music, no doubt, because they are all Sahaja Yogis. But you go to any program – any other program where there are very few Sahaja Yogis – you will see that the way they behave, without any respect. The respect that is paid in India to the musicians has to be of a very high level – or any talents – say even art… See also people who make beautiful things from their hands. All these people who are so talented, are to be respected very much because it’s a special gift God has given them.

Now in India, we have got a very big problem also. All great artists got into the… I should say, into the influence of the West, and so many of them take scotch whisky. What do you say to that? So many; and their music is finished. You can’t even play cricket with scotch whisky, leave alone music. And this Western influence of taking drinks and things like that has ruined our musicians and I don’t know what’s going to happen.

I was quite worried that how is it going to be retained in this country, but now I have great hopes because if they see the Western people doing so well… You see, for Indians, this goes into their heads that, “How can they do it?” Oh, that goes very much… I mean if they see Western people doing such good music, it’s very influential. So, instead of having any Indian artist on the stage, we should really bring foreign. (Laughter)  It will have a great effect, I tell you, on Indians. (Marathi) (Laughter)

It was very shameful the way sometimes Indians behave in a classical music programs, very shameful, for anybody. They have no sense, nothing and they go on misbehaving. They come there for social, social affair, I think, that’s all.

On this point, we Indians as Sahaja Yogis are to be responsible and to see for yourself how much they have achieved, how much they have understood. Somebody who saw them said, “Mother, now even in Indian music if they go ahead of us, what will happen to us?” (Shri Mataji laughs, laughter) But still, we have very great musicians, as you have Arun Apte before you. (Applause)

I must tell you, we had a program in Pune, that’s called Shere, and I was very tired. And so I told Yogi (Mahajan), “What is in the program, next one?” He said, “Some musician has come. He wanted to sing, so he has come.” I said, “Which musician?” “I don’t know his name…” But you see, Yogi (Mahajan), I think, was that time not so much music-minded. (Laughter)  Typical Indian stile. “So Mother, You go and sleep.”

So I laid down and I heard his voice and I heard him. I said, “Who is this singing?” I came back, I changed My sari, I asked Yogi, “Who is he?” They told Me the name. I said, “He’s a great singer! What do you understand? How much are you going to pay him?” He told Me such a meager thing, I said, “Are you mad, Yogi?” (Laughter) Then I went out and I heard his great music.

I’ve heard his guru also before who was also very great that time, and also Ajid Kadkade and his guru Bandhu, both of them are. But I was surprised that none of the Indians could understand him, what he was singing. And this Maharashtra is known for music, for classical music. But surprisingly, it’s not that level now that we had seen.

I am happy to see this resurrection of Indian music through you people. That was one of My greatest desire to get the art, handicrafts and music – all kinds of things which are created through this talent – should prosper. And I am very happy to see that despite it’s so late – I don’t know what is the time, oh my God (Laughter)  – you all are still alert and enjoying. I can’t say about other artists who have very much impressed you and impressed Me. So this is a very good chance – Ganapatipule – where we can have a very nice music, beautiful music, so enjoyable.

Thank you very much. (Applause)