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

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.