Gayati. Live. Breathe. Sing! Informal singing by Gauri Varma

I have attempted a favourite Shiv Bhajan, a beautiful version of which has been liltingly sung by Pandit Chhannulal Mishra of Banaras, based on Raag Des. The lyrics in colloquial Hindi (closest to Bhojpuri) are from Goswami Tulsidas' 'Ram Charit Maanas' and describe Shiv endearingly as the paradoxical ascetic-house holder, oblivious of social conventions, with a snake wrapped around his neck, ash-smeared semi-naked body, the bestower of blessings to all but himself, possessor of nothing. He is accompanied by his faithful spouse, Parvati, who fondly chides him for his eccentric ways.

Composed by the last Mughal Emperor Bahadur Shah Zafar in the 19th century, using his pen name 'Aashiq Rang', this beautiful Bandish pays homage to Sufi Pir Hazrat Nizamuddin Auliya and at the same time, nostalgically describes the unique beauty of spring in Zafar's beloved homeland of India, a magical time when golden mustard and 'tesu' flowers bloom in lush forests, the mango trees blossom preparing to fruit, the koel sings, and young, fair maidens beautify themselves. A 'maalin' (woman gardener) brings an earthen pot and plants an array of flowers in it to take as an offering to the door of Khwaja Nizamuddin. Zafar remembers his promise to visit that hallowed doorway, a promise made a long time before, which he was unable to fulfill. My amateur rendition is based on Raag Shahaana Bahaar, in the style of the Agra Gharaana.

I have attempted a haunting love song with tender and sad lyrics. Two people who were deeply in love with an ethereal sort of love are separated by circumstances. But their love stays alive within their hearts and though they will probably never be together in the 'real world', they continue to commune through their thoughts and dreams and remain connected at a subliminal level. Originally sung by Pakistani singer Shuja Haider in 2014, the song was reworked as a longer, more complex duet directed by Haider and sung by Momina Mustehsan and Asim Azhar in Coke Studio Season 9 in 2016. The lyrics are unusual as is the melody in its use of varying rhythms and tempos. The song demonstrates an interesting fusion of Western and semi classical music. I have attempted a much simplified version of the duet as a solo, primarily vocal rendition with only a Tanpura accompaniment.

I have attempted a traditional Christian chant that goes back to the early centuries of the Christian era. It is in Latin and rejoices in the birth of Christ. It was incorporated into the formal Catholic liturgy by Poper Gregory but its early renditions predate his time. The chant says that Christ is born today and therefore the angels and archangels rejoice on earth today. All the just and righteous too rejoice saying, 'Glory to God in the Highest'.

I have attempted a beautiful, traditional wedding song which is rooted in the villages of the North Indian Gangetic Plain. Ascribed to 14th century music maestro, poet and Sufi Khwaja Amir Khusrau, the charming, lilting folk melody and lyrics go back centuries and such songs have been sung in the villages of this region for centuries. Amir Khusrau would have been inspired by current rural wedding songs and rituals when he composed this. The poignant song expresses the sentiments of a young bride-to-be addressing her beloved and large-hearted father. She asks him to find the sturdiest greenest bamboos to construct the wedding pavilion or mandwa in the courtyard of her paternal home and to celebrate her wedding with great splendour. She asks him to summon all the local astrologers to set an auspicious time, to invite all the local notables and to send her off with horses, elephants, parrots, gold, money and other valuables so that her mother-in-law doesn't taunt her that she came from her father's home without even a comb for her hair. She says that the threshold of her father's home is a mountain that she must find the courage to cross. Once crossed, she will enter the land of her husband and will not be able to return to her father's home.

I have attempted a favourite, traditional wedding song, probably sung for centuries by women of the Gangetic plains, especially in Eastern Uttar Pradesh and Bihar. The lyrics describe how that day is an auspicious one for Ayodhya and the joyous preparations that are taking place in that ancient city as Prince Ram is about to become a groom. The inhabitants plaster their courtyards and kitchens with cleansing cowdung. The priceless 'gaj-moti' or elephant-pearl is in evidence, a sign of the royal prince's splendour and power. A golden 'kalash' or pot is ritually installed in the marriage courtyard and a clay pitcher of water is placed , invoking the divine energy of the Goddess to bless the wedding rituals that are to commence. The youthful groom comes and sits on the low wooden stool or 'chauki' and ekders bless him by showering handfuls of pearls upon him.

I have attempted a favourite Punjabi folk song with Sufi tones. A simple rustic woman expresses her deep selfless love for her handsome lover or 'soneya'. She says that she prays daily to God for his wellbeing and wants nothing else. Her lover has given her so much joy that she is filled with gratitude and wants nothing but to live and die at his feet. She wants him to fully enjoy the prime of his life as Time waits for no one in this world. She prays that if his death is destined before hers, God should take her life instead, as it is her desire that her lover's hands prepare her grave.

On the occasion of Ganesh Chaturthi, I am singing this simple, joyous, popular Hindi bhajan which is infused with loving devotion. The elephant-headed God of auspicious beginnings is fondly invited to enter our homes and bring along other beloved gods with Him, including the Trinity of Brahma, Vishnu and Mahesh as also Sita, Ram and Lakshman. Lord Ganesh is asked to bless the home, remove all obstacles and shower his blessings on all its inhabitants.

I have attempted a favourite love song written and sung by Neil Diamond in 1972. Its intense lyrics can be varyingly interpreted: is he singing of an exceptional love between a man and a woman, or the soulful bond between himself and his guitar (music) or then the spiritual yearning and love between the soul and Divinity? I could not provide the beautiful guitarwork that enrichens his song, so choose to sing without any instrument, which undoubtedly takes away from the beauty and rhythm of the song, but nevertheless, I have made an attempt as I love its lyrics.

I have attempted a favourite Bhajan praising Lord Hanuman, the Shri Hanuman Lahari, composed in the 16th century by the mystic poet Goswami Tulsidas. This version was popularized by the singers Rajan and Sajan Mishra. This Stuti is replete with sentiments of Bhakti or loving devotion and extolls Hanuman who is the personification Himself of selfless devotion to Sita-Ram, endowed with strength, courage and compassion.

I have attempted a favourite song from the Hindi film Junoon (1979), which evokes some.charming scenes traditionally associated with a North Indian monsoon, especially in rural communities. Set to a lilting folksy melody, the lyrics in the colloquial Hindi of Uttar Pradesh describe the feelings that the dark clouds and cool breezes of the monsoon evoke in a young woman, after the searing heat of the Indian summer. The monsoon weather makes her romantic and playful. The singer describes how the buds of the jasmine and bela flowers begin to open in this season and release their heady fragrance. Tree branches sway with the movement of rope swings as the singer and other young women swing joyfully, their green 'chunaris' refusing to stay demurely on their heads, while their bangles tinkle as they move. The singer can't escape the rain and doesn't want to. Apparently complaining, she actually is enjoying getting drenched in the courtyard and terrace of her home. What is more, her lover's bed (placed in the courtyard or terrace as was the practice in the warm weather) also gets soaked in the gently falling showers of the monsoon along with her crisp, dry cotton chunari.

I have attempted a chant of six sacred Sanskrit verses termed the Nirvana Shatakam or the Atma Shatakam, composed by ancient Indian saint and Guru Adi Shankaracharya in the 8th century AD. The verses describe the profound nature of the Supreme Blissful Consciousness or 'Shiv' that is, in fact, identical with the individual Soul or 'Jiva'. A beautiful poetic exposition of the Vedantic philosophy of Advait (Non Dualism), the verses describe Shiv as that unchanging Consciousness that is complete in itself, beyond the body, mind, emotions, attachments, desires, social relationships, Nature, religion, sin, virtue, death and even salvation. And all individual souls are its reflection and therefore also indestructible and sacred. The inner realisation of this essential Unity is true spiritual Liberation.

I have attempted a favourite song from the Hindi film Tamaasha' (2015) which has beautiful and unusual lyrics by Irshad Kamil. The song in the film is a duet in which a woman expresses her wish to always be together with her lover because his presence completes her and causes any sorrows that come her way to slip away. She is immersed in her longing to be with him through the daily hustle-bustle of each passing day and wishes that she could find a way to make hin stay with her a few more moments each time she sees him Her lover however, while attracted to her, seems to cynically question the adequacy of their togetherness to actually take away from the painful realities of life, which must be faced regardless of whether they are together or not.

I have attempted this haunting Punjabi folk song which draws on the old legend of Soni and her lover Mahiwal. In simple Punjabi with a lilting melody, it recounts how Soni , who used to secretly visit her lover at night by swimming across the river Chenab, using a large earthen pot to carry her across, is faced with a fateful choice one stormy night. Her sister-in-law, learning of the affair, conspires to replace the baked clay pot with a raw one. That stormy night, Soni has an irresistible urge to visit her lover and pleads with the pot to take her across. The pot reveals that it is raw and incapable of supporting her but she insists, saying that she so ardently wishes to meet Mahiwal that even if her corpse reaches the other side to meet him, she would take that risk knowingly. Was this her stubborn foolishness or her complete surrender of self to a greater emotion: an overriding Love in the face of which death was a small matter?

I have attempted a geet-numa-ghazal (a ghazal sung in light, song form) written by Late Nasir Kazmi (1925-1972). In this romantic poem written in simple Urdu, an ardent lover voices both his longing for his beloved as well as the apprehensions this love arouses in his mind. His fears indicate both the depth of romantic love as well as its fragility. He engages in gentle irony by wondering if he may at some date, weary of even she who has so besotted him. The rest of the couplets however contradict this fear by describing how, when he meets her after a long time, he fears that the day will end too soon. He solicitously advises her not to engage with sad people lest her beauty scatter in their burdensome company. His deep desire is that she come to him and then not leave for their entire lifetime. He keeps fretting about attaining his love, and what its fate will be, and, again, ironically comments that even this habit of tormenting himself with such thoughts is perhaps a skill not to be wasted. In the last couplet, there is a sense of melancholy where he invites his beloved to spend a little time with him just shedding tears together, lest the swelling river of emotion recede leaving them stranded.

I have attempted a favourite thumri composed in Raag Bhairavi by Hindustani music maestro Late Ustad Faiyaz Khan of the Agra Gharana in the 1920s-30s. The words, in the colloquial Hindi of Western Uttar Pradesh, express the hurt and anger of a woman whose beloved has been neglecting her. She chides him and asks why he is making false excuses for not visiting her when the real reason is that he has been callous and betrayed their love. She tells him that he should not come to her but rather should go back to his home and spouse where he spends all his nights anyway. She asks sarcastically if he was unable to move around because he had applied henna on his feet like some coy bride or whether it had been raining (just for him), that he couldn't visit her. If like he claimed, he couldn't get any opportunities in the day, didn't he have the night to make time for her!

I have attempted a favourite song from Hindi film 'Taal' (1999) , written by Anand Bakshi with haunting music by A.R. Rahman. Sung in the film by Hariharan accompanied by Sukhvinder Singh, i have modified it for my simple amateur solo rendition accompanied by the electronic Tanpura. A favourite of mine, the song 's melody bears the stamp of Rahman, with its harmonious fusion of Indian semi-classical and Western musical styles. An intense love song, it has an undercurrent of spiritual soul-longing for the beloved.

On the auspicious occasion of the ninth day (Navami) of Ashwin Navaratri 2022 I have attempted this energizing ancient Sanskrit hymn to the Devi in her form as Vindhyeshwari or Vindhyavaasini: she who resides in the mountains of Vindhyachal. Vindhyeshwari is a very old form of the Goddess refered to in the Mahabharat and various Puranas. She is also called Vanadevi or the Goddess of the forests. According to one narrative, the primal human Manu prayed to Vindhyeshwari and was granted the boon of having progeny. The Puranas also recount that Devi forecast that she would reside in Vindhyachal and when the demons Shumbh and Nishumbh create misery on earth, she would slay them in Vindhyachal. The sacred temple of Vindhyeshwari near Mirzapur in Uttar Pradesh is a renowned Shaktipeeth where the Goddess is believed to be present in her complete form. Vindhyeshwari is a brave, aggressive but benevolent Goddess. The Vindhyeshwari Stotram is composed in the Panch-chaamar meter which is a lively meter indicating her bravery. My small attempt is inspired by the masterly rendition by Pandit Chhannulal Mishra ji of Banaras.

I have attempted a beautiful Sabad Kirtan, comprising of couplets composed by Shri Guru Nanak ji in the 15th century. This traditional Bhajan/Kirtan was featured in Hindi film 'Halla Bol' (2008), sung by Sukhvinder Singh. The couplets, set to the traditional lilting melody of popular North Indian devotional kirtans, are composed in an amalgam of mediaeval, colloquial dialects and nascent veranaculars of North and West India such as Awadhi, Brajbhasha, early Punjabi, Sindhi, Rajasthani, other 'Apabhramsha' (popular spoken simplified forms of Sanskrit) and Arabic. They were thus composed in the language of the common people of that time, as was the practice of the Bhakti saints of the period. The words testify to the deeply mystic spirituality of Guru Nanak. They stress the crucial importance of the 'Satnam' (True Name of the formless God), 'Satguru' (True Guru) and of loving devotion to both of these in order to attain the Divine.

I have attempted this famous song which belongs to the Celtic folk ballad genre, lyrics of which were ironically composed by English lawyer-songwriter Frederic Weatherly, in 1910. They were set to the tune of a haunting old Irish melody called 'Londonderry Air' in 1913, which is supposed to have been discovered in the mid-19th century by a collector of old Irish music, Jane Ross, but the roots of which probably go back to 17th century Irish harp music. 'O Danny Boy', with its poignant lyrics and melody, became popular during World War I and over decades, it became an identity-song for the Irish-American diaspora, evoking a feeling of nostalgia for the homeland amongst that community. The ballad was first sung by English opera singer Elsie Griffith in 1915 and has subtle operatic overtones. The lyrics are varyingly interpreted, often, as expressing the longing of ageing Irish parents for sons gone to war, but the song may equally, especially when sung by a woman, express the painful longing of a country maiden awaiting her lover and calling out to him amongst the glens and mountains of her beautiful native land, knowing all the while that she may never see him again.

I have attempted this well -loved patriotic Ghazal composed in 1904 in honour of India by poet Mohammad Iqbal, who was at the time, a believer in a united India, historically a land of many communities. In this 'Taraana-i-Hindi' (Song in honour of Hind), composed as an expression of opposition to British Rule and an expression of pride in India's unique identity and culture, the poet proudly notes Hindostan's unbroken and bravely resilient ancient civilization (as against how other mighty ancient civilizations of Egypt, Rome and Greece crumbled). The waters of River Ganga, flowing through the Northern plains where so many travellers came and settled over centuries, are invoked and addressed emotionally. The ghazal describes how no religion preaches hatred and the poet declares that, for him, India is the best, most beloved country in the world. He visualizes Hindostan as a flourishing garden, watered by thousands of rivers, and its people as songbirds (bulbuls or nightingales) dwelling in harmony within it.

I have sung a medley of some of my favourite sacred Sanskrit Mantras invoking the Divine. Starting with the popular prayer to Lord Ganesh, remover of obstacles, who allows all tasks to be accomplished, the medley includes selected mantras for blessings, universal well-being and protection addressed to the Mother Goddess, the powerful Gayatri Mantra praying for the Divine Light to illuminate our minds and souls, the Karpoorgauram Mantra invoking Lord Shiv which especially releases the devotee from the fear of Death, and the Mahamrityunjaya Mantra also invoking Lord Shiv as He who bestows health and well-being, grants victory over Death and liberation from suffering.

I have attempted this lovely song from the film 'Jab We Met'(2007). Sung by Ustad Rashid Ali with music by Irshad Kamil and heart-tugging lyrics by Samir, it is based on Raag Tilak Kamod with variations. A woman awaiting her beloved sings of how the courtyard of her home and her body, too, will bloom when her long-awaited lover finally arrives. The monsoons will shower rain on the couple as they meet . He lost his heart to her kohl-lined eyes. She waits with quickening breath, staring at the moon hopelessly each night, stars shimmering on her eyelids, calling out to him to visit her when the rains are in full spate.

I have attempted this traditional North Indian folk song, a 'Chaiti' (Chait: Indian lunar month of early summer) which was beautifully rendered in light semi-classical style by maestro Pandit Chhannulal Mishra ji of the Banaras Gharaana. It draws on the traditional slow lilting melody and Bhojpuri lyrics of the rural Chaiti which has been sung for centuries in the villages of Uttar Pradesh and Bihar. Traditional Indian folk music is attuned to the natural cycle of seasons. The Chaiti is typically sung in the Indian lunar month of Chait corresponding to early summer, when new leaves, flowers and fruit blossoms have appeared, and the Indian Koel in particular begins its haunting plaintive song as the days grow warmer. This is also the month when Lord Ram was born and Chaitis incorporate His name often at the end of a line, as a mark of devotion as well as an emotional appeal. Chaitis are frequently steeped in the romantic Shringaar ras, joyful or melancholy. In this Chaiti, a woman chides the koel bird for uncharacteristically singing at midnight, disturbing her lover who leaves her bed in annoyance. She scolds the koel that when morning cones, she will cut the branches of the trees on which the bird has her nest, because her lover has left her bed due to the untimely birdsong.

This ancient Sanskrit hymn to the Goddess is found in the sacred text 'Durga Saptashati' and has been sung for centuries in India by devotees. It is sometimes described as a concise version of the long and powerful Sanskrit epic narrative in praise of the Devi (Chandi Paath) that comprises the Durga Saptashati. This hymn was sung by the Devas to invoke Devi as only she could protect them from the terrors unleashed by mighty demons. Pleased by the hymn, Devi manifested as fully armed Durga, and on the spiritually charged day of Ashtami during the sacred nine nights of her stay on Earth (Navaratri), she assumed her warrior form of Bhadra Kali and slayed demons like Shumbh, Nishumbh, and Mahishasura. This hymn describes the various attributes of the Goddess. Many of these attributes are apparently paradoxical but in reality, are complementary, signifying the essential unity of the Divine Life Force that drives all Creation, beneath apparent Duality. Thus, for example, the Suktam refers to her as both radiant and shadowy, tender and fierce, essential truth and deceptive illusion. She controls all sensory and body processes in living beings and resides in them as hunger, thirst and sleep. She also appears in society in the form of the mother and race/clan/nation, thus imparting identity to human beings.

I have attempted a folk song from the Awadh area of Uttar Pradesh, India which has very sweet lyrics in the rural colloquial Hindi dialect (Awadhi). It reflects the deep respect for Nature that has been a feature of traditional Indian rural culture. Indian culture views Nature as 'Prakriti', a form of the Mother Goddess (Devi) and all living beings are seen as interconnected and nurtured by Prakriti. Trees in particular are associated with various deities. In this song, the singer asks that we not cut various trees that give so many gifts to all living beings, be it the mango, the tamarind, the mahua. She describes how birds nest in the pipal tree and parrots engage in love-play amidst its branches; the mighty banyan provides a roof to the traveller; the sandalwood tree is sacred because Goddess Sita and Lord Ram, prince of Awadh, would swing together on its branches; the humble 'ber' tree is a symbol of Sabri's devotion and love for Lord Ram (as depicted in the Indian Ramayan); the lush green mehndi is a staple adornment for Indian women, amd most of all, the woodcutter should never cut the Neem tree because it is the abode of the Divine Mother.

My attempt is inspired by the famous semi-classical version of this poignant ghazal sung by Ghazal Queen Noor Jahan. Aptly sung for the first time by her in front of Faiz after his release from a term of political imprisonment in Pakistan, the ghazal is bitter-sweet in its message to the poet"s beloved. He tells her that while he is still drawn to her and loves her, there are many tragedies and injustices in society, the crusade against which must take priority in his life. Therefore, she should not ask him for the kind of singular love he used to give her in the past.

I have attempted a lively, traditional song celebrating the colourful festival of Holi. This Hori Bandish (North Indian semi-classical short composition or 'Chhoti Bandish'sung on Holi) is based on Raag Bihag, in playful romantic mood ('Shringar Ras'). In the colloquial rural Hindi dialect of Uttar Pradesh (Khadi-Boli), it describes the youthful Lord Krishna's mischievous antics during Holi in Brindavan. He teasingly sprays coloured water on the blouses and sarees of his lover Radha amd her companions, and blocks their path when they try to evade him! When passers-by chide him, he stubbornly stands his ground and uninhibitedly hurls playful abuses at them.

My attempt at the powerful ancient Sanskrit hymn in praise of Lord Shiv, composed by Raavan, ruler of Lanka. Raavan was a scholar, expert in many disciplines and a devout devotee of Lord Shiv. In this hymn, sung through the centuries, Lord Shiv is vividly described dancing his creative/transformative Tandav dance, the vibrations from which fill his devotees' hearts with joy. His dancing figure is visualized through beautiful metaphors and other forms of description in chaste Sanskrit: Shiva dances with blissful abandon to the mesmerizing beat of his 'damru', reddish locks of hair swirling, crescent moon adorning forehead, the River Ganga streaming down from his head, and serpents wrapped around his neck. As he engages in creation and recreation, he is always accompanied by his spouse, Goddess Parvati.

My rendition of a charming, traditional Punjabi bridal song or 'चू‌ड़ा' (Chooda: bangle). The Chooda ceremony is a ritual of great cultural significance in Punjabi weddings. On the morning of the wedding day, red and white bangles are placed on the wrists of the bride with a havan/puja. These bangles symbolize blessings of the Divine on the bride-to-be, for strengthening the conjugal bond, fertility of the union and familial happiness. This song describes the feelings of the bedecked young woman as she eagerly awaits the approach of her beloved, expected in the evening. She revels in the beauty of her embroidered bridal veil, glistening 'Teeka' (marital forehead ornament), shining nosepin, sensually fitted 'kurti', and the 'paraanda' of precious green beads woven into her plait. Most of all, she is intensely conscious of the red chooda bangles on her wrists tinkling constantly as she moves in and out of her home on her wedding day. Her eyes are on the lookout for her beloved and she is unable to put her mind to household chores of cooking, grinding flour or weaving cloth even though her mother chides her. As dusk approaches and stars set the skies ablaze, and her beloved still hasn't arrived, she feels like she can't survive without the sight of her precious groom/lover.

I have attempted a traditional North Indian wedding song in colloquial Hindi. This charming, lively song is addressed to the bride-to-be by her maid -companion. She teasingly urges the beloved, pampered daughter of the house ('laado') to go and comb her hair, as her groom has already entered the gardens of their residence. She also laughingly warns the bride that she will charge her in gold coins for plaiting her braid and tailoring her wedding blouse as this is a special day.

On the occasion of India's Republic Day 2022, I have attempted one of the favourite Bhajans of Mahatma Gandhi, Bapuji, Father of the Nation. Written in the 15th century in mediaeval Gujarati vernacular by the Vaishnav saint Narsinh Mehta of Junagadh, this bhajan has endured because of its wonderful simple expression of what lies at the core of Hindu spiritual philosophy: the saint explains who is a true devotee of Vishnu? S/he is one who understands the suffering of those unknown to oneself, who works to alleviate their hardships without becoming arrogant, who tries to be pure of thought, action and heart, tolerate various ways of being and work for the good of others as a way of worshipping the Supreme.

My amateur attempt at this delicately romantic song from the classic Hindi film 'Sahib, Bibi aur Ghulam' (1962). It's music composed by Hemant Kumar, is inspired by Raag Brindavani Sarang, which suits the mood of lively, innocently playful, feminine anticipation for the beloved, that the charming colloquial Hindi lyrics of this song, steeped in Shringaar Ras, express.

Have attempted this beautiful, seene Christmas carol, originally written in German in the early 19th century by a humble Catholic priest, Joseph Mohr in a small Austrian town, and set famously to music by Franz Xaver Gruber. This carol evokes the still calmness and simple purity of the momentous night of Jesus' Nativity. First performed in a tiny village in Austria in front of a handful of people and picked up from there by some folk singers, it spread across the globe and has moved the hearts and spirits of millions of people. Yet another proof, if any is needed, that miracles happen all the time and everywhere, in mysterious ways.

I have attempted a favourite Geet-numa-Ghazal (Ghazal rendered in song format) from the classic Indian film 'Umrao Jaan' (1981). The ghazal is preceded by some introductory comments by me to set the context of the lyrics. The ghazal, in simple Hindi-Urdu, expresses the intense mixed feelings of both joy and sorrow as 19th century courtesan Umrao Jaan, uprooted from her base in Lucknow, glimpses her long-separated mother in a chance encounter while giving musical performances on the move. It's a moment when, as a woman slowly approaching middle age, she turns and looks back at her strange life and circumstances, which denied her of love, be it from a lover or a family.

I have attempted a medley of some favourite Vaishnav bhajans or devotional songs dedicated to Lord Krishna, also invoking hin at points as another prominent Vishnu Avatar, Lord Ram. Sung to a brisk traditional Indian devotional beat, these age old bhajans/chants in Sanskritic and colloquial Hindi invoke the Divine Spirit in joyous mood. To be 'in God' in His Krishna form, is to suspend ego and reason, and surrender to the living, loving Divine Spirit that glows within each of us, letting it take us up and carry us along where it will.

I have attempted the beautiful love ballad from the famous English film 'Titanic'. Sung unforgettably by Celine Dion with haunting music by James Horner amd lyrics by Will Jennings, the song's inspiration clearly goes back to medieval traditional European folk and operatic ballads as reinterpreted in 1970s rock music. The vocals mix and merge with the enveloping music that uses the tin whistle along with the guitar and electronic instruments, amd starting softly amd wistfully, rises to a dramatic, powerful crescendo. The tin whistle ( or similar simple woodwind instruments) have an old history in Celtic, English and Native American folk music traditions apart from others.

On India's 75th Independence Day, this is my attempt at the poignantly beautiful, patriotic song from classic Hindi film 'Kabuliwala' (1961) originally sung in the magical voice of Manna Dey, with folksy Pathan music by iconic music director Salil Chowdhury and touching lyrics by Prem Dhawan. The Kabuliwala in the film sings of his Afghan homeland, but ofcourse it resonates with our love for our own homeland, India, Bharat, Hindustan.

This feisty, passionate, folk-inspired love song in Punjabi-Urdu from film 'Dhoom 3', successfully merges traditional Indian melody and lyrics with a Western fusion rendition. Originally sung by Sunidhi Chauhan, the lyrics are inspired by traditional Heer-Ranjha poetry of Punjab, and have a deeper mystic meaning: they evoke a love that is both physically and spiritually deep, that causes the singer to completely surrender her self in an unworldly manner like a 'jogin'. She knows that her emotional state and behaviour is such that she would be called 'Kamli' (Crazy), a name she proudly addresses herself by in the song.

This is my devotional attempt at the centuries-old hymn 'Rudrashtakam Stotram' composed by 16th century Bhakti saint, poet and scholar Shri Tulsidas, as part of his sacred epic Ramcharitmanas. In eight stanzas (ashtakam) the prayer invokes Lord Shiv, praising His beautiful form, qualities and deeds in lyrical Sanskrit.

My raw rendition of this haunting song.from film 'Raat aur Din' (1967). Love the intriguing, free-thinking lyrics by Shailendra and the delicate lilting melody by Shankar-Jaikishan. Memorably enacted by iconic actress Nargis in her unconventional role as a married woman with a dual personality disorder. She urges her partner and rhe audience at a dance club to untie the knots in their hearts, to come to her and dance, as no one is an outsider there. Strangers may magically connect in such a delightful gathering, smile into each other's eyes, and create their own magical city of dreams. They can be transformed creating their own music and happiness, freeing themselves of past ties, without the need to spell out their individual life paths or destinations.

I have attempted this tender song from the popular Hindi film 'Silsila' (1981). I have actually combined the 2 songs sung by the male and the female subjects, The first two stanzas (sung by the male lead in the film) are in romantic, happy mood, describing a magical night when the two lovers (Rekha and Amitabh) are together, while the latter two stanzas (sung in the film by the female lead) describe the sadness of the night when the lovers are separated by a cruel fate: a night which seems withered, with the moon drowning in tears.

I have attempted thIs Sufi Bhajan, the current, popular, catchy version of which was composed by Pakistani film music director Master Ashiq Hussain in the 1960s. However, the lyrics in Saraiki (Sindhi/Multani), the refrain Damaadam Mast Qalandar and also the folksy roots of this 'Dhamaal' go back centuries. This bhajan/ dhamaal is an interesting example of the eclectic, syncretic, popular culture of medieval North-western and Western India, combining in its lyrics, devotion (bhakti) for the Sindhi Hindu deity Jhoole-Laalan (associated with the Rigvedic god of water, Varun), the Sufi saint Usman Shah Marwandi who was worshipped as a saint/divine Avatar by Hindus and Muslims alike in Sindh, and Hazrat Ali, successor of Prophet Mohammad. In this song, Usman Shah, lovingly also called Shahbaz Qalandar, is also revered as one who grants the boon of children to childless women and reunites brothers with sisters. The reference to 'dam' or breath is typical of Sufi devotional poetry, denoting the sacred mystic connection between life force, breath and spiritual energy/chanting the name of God.

This is my attempt at a gentle country ballad written and sung by the famous English pop singer Sting in 1993. It was inspired by the beautiful sensuous movement of the wind as it moved over rippling golden barley fields around the country home of the writer/singer. Its lyrics and melody are in the Old English folksy style, telling of a love that was enacted in barley fields in the bright summer, a love now long gone but never forgotten and perhaps still awaited yet again. The West Wind in classic English literature is associated with soft breezes, the harbinger of spring and summer,, of regeneration.

This is my raw attempt at a hauntingly beautiful song from the famous Hindi film 'Rang de Basanti' (2006). The poignant lyrics expressing a mother's love for a lost son, who has sacrificed his young life in the pursuit of noble goals of social and political revolution, are by Prasoon Joshi and the unusual, intricate musical composition is a fine example of A.R. Rahman's eclectically harmonious style. The song in the film is a duet, a dialogue between mother (singer Lata Mangeshkar) amd son (singer A.R. Rahman). My amateur solo rendition is a simplified version accompanied by an electronic Tanpura.

For people who enjoy India's robust folk music traditions, here is my amateur attempt at a Saawan ki Kajri. The Kajri is an ancient folk song sung in the villages of Eastern UP and Bihar, especially in the monsoons. It describes the beauty of the Indian monsoon and the wish to enjoy this beauty with the beloved, be it Krishna swinging in the 'saawan jhoola' with Radha, or rural women who sing the Kajri to express their sadness at being separated from their men, migrant labourers forced to live long periods away from their homes, to make a living in alien cities. The traditional lyrics are in Purabi dialects associated with this region, particularly Bhojpuri. The rustic Kajri with its lilting melody and catchy beat was inducted into the Purabi semi-classical music tradition over centuries. This composition is steeped in romance (Shringaar Ras pradhaan) and expresses the yearning of a woman to be held by her charming (absent) lover during this lovely season. There is a delicate yet beautifully natural expression of her desire to merge with her beloved, just like the colours of her red 'chunari' and green blouse mix and mingle as rain drops fall on them.

My rendition of a joyful devotional song in the Vaishnav tradition, by 16th century Hindu mystic poet Meera Bai, a central figure in the medieval Indian Bhakti movement. Meera's songs, composed in Brajbhasha, the sweet colloquial Hindi dialect of Lord Krishna's homeland, with a mixture of words from nascent Rajasthani, Gujarati, Punjabi, have been sung for centuries in North and West India, and are steeped in soulful Krishna-love. Meera's life story in tumultous times,and her flouting of social conventions in her spiritual journey, continue to capture the popular imagination as much as her beautiful devotional poetry.

This is my attempt at a beautiful ghazal written by noted poet Shakeel Badayuni, originally sung by Mohammad Rafi. This geet-numa-ghazal (ghazal rendered in a simple song style) has a haunting melody with a light semi-classical base, composed by talented music director Naushad.

This bhajan is composed in the form of a bandish based on Raag Yaman. It beseeches Shankar, the Great God, to appear before His devotee who is facing terrible hardships, and has taken refuge at Mahadev's sacred feet. It asks Lord Shiv to grant the devotee peace, courage and protection in the face of troubles.

This beautiful wedding song in Hindi has been sung traditionally amongst both Hindus and Muslims of Uttar Pradesh and Bihar, and belongs to the Banna-Banni genre of weding songs of Uttar Pradesh. I learnt this song from older women relatives in Patna, Bihar. They in turn had heard this song sung decades ago by an unknown Muslim woman singer from the Old City of Patna, who had been invited to sing during a wedding in the family. This unusual song has a slow, langurous sweetness as it fondly describes the heavy ornaments of the 'Banni' or newly wed bride who is steeped in fragrant 'itr' perfume. It teasingly asks her to take heed of her wedding jewellery because she has been forgetfully leaving her 'chandan-haar' necklace and heavy 'kangan' bangles on the marital bed in the mornings, presumably in a romantic stupor!

I have attempted a lively, traditional wedding song from my home state of Uttar Pradesh. In colloquial Hindi, it is of the genre of 'Banna-Banni' wedding songs, which are typical of Uttar Pradesh, though also sung in Bihar, and have been sung for centuries into the present. 'Banna-Banni' are words used to lovingly address and describe a to-be groom and bride or a just-married groom/bride respectively. In this song, a young husband is teasingly told that a demanding new bride with airs and graces has arrived. But she is also beautiful, her eyes like a forest deer, her face partly seen through her veil or ghunghat, radiant like the moon partly obscured by clouds, her voice when she speaks like the delicate tinkling of glass bangles. And with her arrival, her young husband's nights are filled with the fragrance of 'juhi' flowers.