Music

Begin and End Like a Raag

Commentary
A Lady Playing the Tanpura, ca. 1735 Rajasthan, India.
[Source – Wikipedia]

A raag in Indian classical music becomes Time when orchestrated. Glorious instruments, colourful songs and performances, although, when glimpsed at, mute, await patiently for the right Time, right raag.

For a different season, a different raag – Malkauns, Puriya Dhaneshree for autumn and fall, Megh and Miyan ki Malhar for the monsoons, Brindavani Sarang for summer – that captures the weather in wavelengths, letting it communicate ever so freely.

Raag as Time presents itself in a harmonious clock, naturally. Dawn breaks with raag Ahir Bhairav, Lalit, Bilaval… afternoon visits with raag Bhimpalasi, evening with raag Yaman Kalyan and night with raag Chandrakauns, Darbari, Hameer

Moulding live Time into a majestic melody, into resplendent raags – they sit still. Who all, exactly? Both raag and Time – raag as Time, Time as raag. They sit still, now bursting into true joy, now as fragrant as love, they await, never losing the discipline of being one.

Yes, here comes the structured, palpable, countable, direct, strict form of the raags – notations. Tied to notations, raags sincerely obey the rules set by the masters, always free to improvise and ameliorate the notations. Raags aim for clarity of ever vibrant awareness, presence that transcends.

And who do the masters, gurus, legends and myths obey? Well, life is cyclical – they obey, observe, listen to, be mindful of the raags.

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So, the strictness, the structure of notations attempts to keep the raags’ soul alive, while firmly certain that raags’ soul is eternal. And carrying this paradox rhapsodically, the artists move rather uniquely, theirs is a different gait, rich in colours, in fast-forward or rewind mode.

Ti-ha-yi i.e. tihayi, a technique used in Indian classical music mostly to complete a piece.

“Tihais are sometimes used to distort the listeners’ perception of time, only to reveal the consistent underlying cycle at the sam.”

Music Contexts: A Concise Dictionary of Hindustani Music by Ashok Damodar Ranade

Sam is the ending point/ beat.

Listeners’ perception of time… very true, after all it is done for the listeners, the stage is set for the viewers, the raags become Time for the audience.

Why? So that the sublime connection between the world around and the world within doesn’t break, so that the cyclical journey goes on and on… for no mortal being knows the final destination.


Akbar watching as Tansen receives a lesson from Swami Haridas. Imaginary situation depicted in Mughal miniature painting (Rajasthani style, c. 1750 AD).
[Source – Wikimedia Commons]

Raag comes from a Sanskrit word that means ‘dyeing’ or ‘a colour, tint, hue’, and so when the right note – beautifully beaded, richly fresh – is played, it touches the heart and soul of the listener, affecting and colouring the thoughts, urging one to act well, arresting one’s hurtful quietness, liberating one from the heavy shackles, boosting one’s spirited self.

An ecstasy when experienced so, in general the raags take a traditional ritual’s shape that often gets dull under the burden of untouchable rules… untouchable for they are pious.

And oh, be careful of rupturing the impeccable quaint charming world.

But they forget the raag becomes Time here, when orchestrated well and as Time it evolves, evolving others along.

Who has captured Time in this ephemeral space? And that too in a sweet honeyed way that in captivity it turns melodious – Time becomes raag…?

An eternal tug of war between the thoughtful and careful, a wave rising and falling, union and separation, spoken and unspoken – there is a raag for every shade, every mood, every subtle change, every sky and every earth.

Together why not we take a dive into this ocean of raag… why not we learn to be as patient as a still raag as if we have been sculpted out of stones, while the atoms within hum steadily the right tune… why not we become in action that ecstatic joy like the raag Malhar, causing the clouds of bleakness to rain, in-turn nurturing our roots… why not each one of us create a unique tihayi that uncovers the similarities at the sam…

Why not we begin and end like a raag…


Some supreme performances by the legends –

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Let’s Take The Final Curtain Call Together

Flash Fiction
A lovely dancing tree.
[Source – Pixabay]

Standing next to the giant old tree, its static presence made Saami sombre, more and more.

He cried, “Saami is now one with the rigid, rough and-and dead, yes, dead and gruesome tree bark, Saami has turned into this tree bark… O, but why?”

Resting against the tree now, now hugging the tree and mumbling, Saami stared into nothingness blankly, quietly. He opened his fist – a flint stone chip, equally dead he thought – and started ripping off the bark once again.

“Saami sees it all, Saami knows the limits, Saami’s dungeon is different from theirs, but… it’s all the same”, he announced in pain.

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Sombre Saami’s imagination.
[Source – Pixabay]

The twittering yellow bird, the prancing butterflies, a distant lullaby, the pesky kung-fu crickets’ funny civil war and the red flowers’ bold stance, Saami turned a blind eye to it all.

Even the crickets stopped their civil war to enjoy the rain and the rainbow that day, but not Saami.

“Fools! Saami knows the pattern, Saami knows hope and destiny are always stuck in a traffic jam, and love…”, said Saami two hours ago.

“Love… love coloured Saami’s world black… black is the absence of all colours… black reflects no light… Saami lives in darkness”, he completed the sentence just when the fireflies lit the jungle.

Some rested on his head and hands, but Saami refused to greet them.

With a dry look, sullen eyes and tired limbs, Saami spoke for the last time, “dead, static tallness, this soulless tree bark hates Saami, this is the death penalty, and the most terrible because Saami is not tied, Saami can move, Saami knows, but not anymore, for Saami has become one with this giant numb stubborn treeeeeeeeeeeeeeee…”


Saami spoke for the last time because the lovely, joyous and calm tree’s branch took hold of Saami’s tired body and pulled him up-up-up… in a gushing blast of speed, suddenly music broke Saami’s heart-heart-heart… ta-rum-pup-pup-paa came the sound and immediately replaced it with a musical hub-dub sensation of a heart.

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The lead singer-cum-dancer-cum-poser.
[Image by Roy N from Pixabay]

From the top-most branch of the tall lovely tree, Saami could see melodic colours and no darkness, nothing was static for the entire jungle and the river and the wind and the sky and the stars and the moon and the sun (together) danced to the twee peppy tune – and equally soothing, thought Saami – that the animal orchestra was playing.

Every animal – jamming freely – sitting on the top of some tree just like Saami… Saami who started clapping, swaying along and tip-tap-toeing in the air.

The tall lovely tree finally spoke, “Saami, yoi-knowi-da-cosmic-i-dance-sO-‘ell”; Saami was seen blushing brightly before the curtain was drawn.

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Cosmic-i-dance!
[Source – Pixabay]

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Of Monsters and Men and This Journey

Coverage
Of Monsters and Men and This Journey…
[Source – Pixabay]

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A happy piece!
Kintsugi is the Japanese art of repairing broken pottery by mending the areas of breakage with lacquer dusted or mixed with powdered gold, silver, or platinum. – Wikipedia

[Photo by Motoki Tonn on Unsplash]

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For a better experience, listen to the wonderful, magical tracks before reading on –

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Listen to Little Talks here –

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‘Cause though the truth may vary
This ship will carry our bodies safe to shore…

Little Talks, Of Monster and Men

And this journey forward that seems uncertain, unforgiving, perilous, and so lonely transforms into a key – a key that unlocks both the Pandora’s box of adversities and the heart’s orchestra.

String, woodwind, brass and percussion music, always on stand-by, ready to win-over the adversities melodiously, has given the heart’s orchestra a good name.

What if the monster charges with an army or is two-headed or many eyed or has tentacles? Hey-hey, hey-ho, the key that unlocks, also locks… it is all up to you and your heart’s orchestra performance.

Psst! Listen, all monsters aren’t evildoers, but they are music lovers for each one has a heart. Good luck!


Listen to King And Lionheart here –

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And as the world comes to an end
I’ll be here to hold your hand
Cause you’re my king and I’m your lionheart

King and Lionheart, Of Monsters and Men

And this journey that seems to have ended with our destruction, our death, and yet alive, we silently stare, scar-faced and overwhelmed, at our sacrifice blooming at the right place, at the right time…

Tired steps befriend the trodden grass… and at last the haunting echoes fail… the Lionheart rises again.


Listen to Dirty Paws here –

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The bees had declared a war
The sky wasn’t big enough for them all
The birds, they got help from below
From dirty paws and the creatures of snow

Dirty Paws, Of Monsters and Men

And in the middle of a war, when you turn around to see and cannot distinguish between the mad faces, you become one with them and fight fiercely until you remember, you too are a creature that breathes.

Breathe, breathe, breathe and continue for that is the call…


Listen to Love Love Love here –

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Oh, ’cause you love, love, love
When you know I can’t love
You love, love, love
When you know I can’t love
You love, love, love
When you know I can’t love you

Love Love Love, Of Monsters and Men

And what hurts the most in this forgotten life of ours… unfulfilled love that can be fulfilled and yet…

When love love love turns you into a piece of Kintsugi pot, smile for now you have been repaired.


Listen to Mountain Sound here –

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Of Monsters and Men is an amazing indie rock band from Iceland. They have a knack for amalgamating folk stories, emotions, joy, pain and the magical into their songs that almost every time matches with the universe’s wavelength.

Listening to their music is like sitting around a bonfire on a bright winter night… and in summers it is like playing with the breeze.

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Those Seekers

Short Feature

#NoWar
[Image by Alexandra_Koch from Pixabay]

How powerful is a melody! A melody struck in the past, struck so beautifully that it broke free.

Timeless! A timeless piece of music rings true always; ten times truer in those moments when the courageous stand tall.

A single spark then is enough to change the narration. The narration that once appeared fixed and firm now burns and melts, making a new path, creating a new reality.

How powerful is a spark! A spark… perishable and yet unfading, tiny celebratory moments in embers, collected often by those seekers.

Those seekers who can also create a timeless melody… a timeless melody that even if buried under rubbles, surrounded by war cries, awaits the moment to be struck and break free once again.


Inspired by and dedicated to Irina Maniukina and all the wonderful seekers in Ukraine.

#NoWarPlease #standwithukraine #StopWarInUkraine


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Regina Spektor’s Musical World and Perceiving the Emotion Called Love – Part III

Coverage

Love is the key.
[Source – Pixabay]

Love, the key to living a fulfilling life, the path that leads to the real you, this emotion called love is universal and free.

An enigmatic thing, love is everywhere – in and around you and me, in our blue planet’s core, it is the main component of every heavenly body and the equally mysterious dark matter. Why else must the dark matter be dark if not for love?

Love – the power that knows the art of giving only too well, that takes pleasure in calmness, that patiently and leisurely creates, that also manoeuvres without light, that is fathomless – humbly colours the dark matter dark.

Who ventures in the unknown, hoping to pierce through the darkness like a sharp arrow, in a speed that surpasses the twang of its bow?

One who is courageous enough to Love.


Landing back on earth, let us see how Regina Spektor has perceived Love and what rhythm has she given to her definitions of Love.

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Listen to ‘Blue Lips’

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He stumbled into faith and thought
“God, this is all
There is”
The pictures in his mind arose
And began
To breathe
And all the gods in all the worlds
Began colliding on a backdrop of blue

Blue lips
Blue veins

He took a step
But then felt tired
He said, “I’ll rest
A little while”
But when he tried
To walk again
He wasn’t
A child
And all the people hurried past
Real fast and no one ever smiled

Blue lips
Blue veins
Blue, the color of our planet from far, far away…

Regina Spektor

No one said that it will not hurt, that there will not be any sacrifices, that we will not forget and misconstrue, no one said Loving is easy and so we failed, repeatedly we failed.

But why lament when we can try again?

As humans, all we need to fully revel in Love is our ability to breathe and our home planet that looks blue from far, far away.

Regina Spektor believes in Love and Loves our beautiful blue planet; it is evident in her songs.


Listen to ‘Eet’

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It’s like forgetting
The words to your favorite song
You can’t believe it
You were always singing along
It was so easy
And the words so sweet
You can’t remember
You try to feel a beat eeet eeeet eeet…

Regina Spektor

‘Eet’ is a backspace key that you find on typewriters that allows you to type over the previous letter if you make a mistake.

Mistakes and life, life and mistakes, go well together if you are truly in love (no matter with whom/what). Even if you stumble, forget or lose, you will still try, sooner or later, for love will not allow you to rest.

It is strangely powerful, this emotion; it attacks with a strong gust of memories and then waits, it tickles with happy thoughts and then waits… waiting as if it knows it will win in the end.

If you ever think of using the ‘eet’ key, do try the Regina Spektor way of editing – turn the mistakes into musical notes.


Listen to ‘Better’

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If I kiss you where it’s sore
If I kiss you where it’s sore
Will you feel better, better, better?
Will you feel anything at all?

Born like sisters to this world
In a town blood ties are only blood
If you never say your name out loud to anyone
They can never ever call you by it

If I kiss you where it’s sore
If I kiss you where it’s sore
Will you feel better, better, better?
Will you feel anything at all?

Regina Spektor

Just like opening an old album, with slightly tattered and folded edges, we are greeted with some golden memories – happy and sweet and sad; sad because we cannot travel back to meet the ones we have lost.

And yet we go on, asking hypothetical questions, somehow reliving the moment mentally, grasping the answer that we know will work, at least for now.

Just like opening an old album, ‘Better’ by Regina Spektor gives us such a feeling.


Listen to ‘How’

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Time can come and wash away the pain
But I just want my mind to stay the same
To hear your voice
To see your face
There’s not one moment I’d erase
You are a guest here now

So baby, how
Can I forget your love?
How can I never see you again?

Regina Spektor

One always remembers sad endings and unanswered questions, but why?

So that one keeps walking, searching and living more sensitively… maybe.


Coming soon – Regina Spektor’s Musical World and Addressing the Hero – Part IV

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Regina Spektor’s Musical World and the Assured Presence of the Antiquity – Part II

Coverage

Peh-peh-peh… a patina trumpeter plays for you.
[Source – Pixabay]

Our shadowy past lives, though hidden in the fog, it lives, and we live off it.

Ancient cities now archaeological sites, history books, paintings, literature, music and ideas remind us of the assured presence of antiquity, our link with what was the truth back then.

Like the tail of a shooting star, our past/ the antiquity makes an equally good show in the darkness, at times even a grand show.

Like a terrific shaman, the past predicts when approached with a true question and predicts without any regret.

Come, let us see, what it predicted when Regina Spektor approached it with some melodious queries.

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Listen to “All The Rowboats” before reading further –

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…First there’s lights out, then there’s lock-up
Masterpieces serving maximum sentences
It’s their own fault for being timeless
There’s a price to pay and a consequence
All the galleries, the museums
Here’s your ticket, welcome to the tombs
They’re just public mausoleums
The living dead fill every room

But the most special are the most lonely
God, I pity the violins
In glass coffins they keep coughing
They’ve forgotten, forgotten how to sing…

Regina Spektor

It seems the antiquity, through this song, shared a message for all those who are listening, which is that the past is not static, so no point in decorating and forgetting it; no point in generalising it and awarding it with a damp stamp.

Feel free to interpret it; relive the change.


Listen to “Samson”

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Samson went back to bed
Not much hair left on his head
He ate a slice of Wonder Bread
And went right back to bed
And the history books forgot about us
And the Bible didn’t mention us
And the Bible didn’t mention us, not even once

You are my sweetest downfall…

Regina Spektor

Delilah, Samson’s lover, actually a spy, had his long hair cut one night, making him powerless; the Philistines captured Samson and tortured him brutally. Samson, blind and weak, still destroyed his enemies by magically regaining his strength. He died along with his enemies after he collapsed the temple of Dagon.

This biblical account doesn’t mention the infinite voices that made Samson, Samson and Delilah, Delilah. Culturally nourished biases have always restricted so many voices and the history books have often conveniently ignored it… until someone dares and explores and talks about the sweetest downfall.


Listen to “While My Guitar Gently Weeps” –

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…I look at you all, see the love there that’s sleeping
While my guitar gently weeps
I look at the floor and I see it needs sweeping
Still my guitar gently weeps

I don’t know why nobody told you
How to unfold your love
I don’t know how someone controlled you
They bought and sold you

I look at the world and I notice it’s turning
While my guitar gently weeps
With every mistake we must surely be learning
Still my guitar gently weeps…

George Harrison

Regina Spektor covered this “Beatles” song for the film Kubo and the Two Strings (a must watch), magnifying the song’s impact so wonderfully. The antiquity becomes fully alive here; it reassures and promises the unfolding of another epic. It is pure magic!


Return in some time dear readers, and continue the tour of Regina Spektor’s musical world here at Chiming Stories.


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Regina Spektor’s Musical World and the Ephemeral Moments of Joy – Part I

Coverage
Delicate dance anthem…
[Source – Pixabay]

Walking down the street with old heavy memories, frozen and hazy, not bothering for a while and the unknown liveliness of the fresh sounds greeting us from all around – the dripping thaw, the golden sunny warmth, the tiny twittering birds, the ‘oh my god’ honking of a dashing car’s ghost that passes by, the hearty smiles and laughter – we blush with hope teasing us, giving us bright ideas, gleaming as we experience our quiet, still mind-pond.

These ephemeral moments of joy, so true and innocent, are hard to capture, harder to sustain, probably that is what makes it so special for and loved by all.


Regina Spektor, the star singer, songwriter, musician, the starry-eyed star, the star magician, knows how to hold such moments very well. She doesn’t capture it, na-na, she only knits a pretty, sweet and soothing melody and then soaks it into such warm moments, letting the melody take this ephemeral colour.

To this colour, she adds free-play, emotions and her pianist-self and, voila, a Regina Spektor song wave is ready.

Listen to “Ne Me Quitte Pas (Don’t Leave Me)” before reading further –

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…And down on Lexington they’re wearing
New shoes stuck to aging feet
And close their eyes and open
And they’ll recognize the aging street
And think about how things were right
When they were young and veins were tight
And if you are the ghost of Christmas Past
Then wont you stay the night?

Ne Me Quitte Pas, Mon Chere
Ne Me Quitte Pas…

Regina Spektor

She amalgamates it all so well, life’s experiences, cut both ways and so gently she allows herself to smile an honest smile. How beautifully this song captures time and lets it go.

And she loves Paris, especially when it rains there and so do we all (at least the rasiks* do).

Listen now to “Dance Anthem of the 80’s” –

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…I’m walking through the city
Like a drunk, but not
With my slip showing a little
Like a drunk, but not
And I am one of your people
But the cars don’t stop…

Regina Spektor

This is nothing but a memory, cold, harsh, but funny in retrospect; one that glares until you glare back at it, acceptingly. And Regina Spektor handles this mixed emotion so peacefully and at the same very eagerly, probably eager for it to evolve.


Also, listen to the live performance of “Dance Anthem of the 80’s”, how sweetly she thanks her audience.

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Here, at Chiming Stories, the blogger will be covering Regina Spektor’s musical world in the coming posts, trying to live and relish her songs in your company, so dear readers ‘ne me quitte pas mon chere’ (don’t leave me, my dear).


*A rasik, in Hindi language, is a passionate and thoughtful being.


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Jasmine-Rich Raga

Coverage

White Jasmines.
[Image from Pixabay]

Like flowers threaded to form a sheet, woven intricately, the free white petals settling in a designed pattern, accepting the arrangement with joy, like an endless beaded wave of fragrant flower-colours, the ragas also weave intricately musical framework that evokes fragrant feelings in a quiet listener’s mind.

Just like the perfection-loving flowers – the humble sepal, the vibrant petal, the ambitious anther – the ragas too know how to bloom to perfection. Capturing the exact mood that exudes the season’s essence perfectly, the ragas effortlessly scent time making it beautifully appreciable.

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The scented time celebrates the raga – in Vilambit laya (slow tempo), Madhya laya (medium tempo), Drut laya (fast tempo) – accepting every melodic improvisation, evolving with each performance, never bothering with change, rather ushering it with consistent Riyaz (practice).

Overwhelming calculations keep the ragas free from vegetating and from the burden of the past that at times tries to confine its spirit, but almost always the spirit remembers to break free.

The many notations, the Swara, bring forth incessant improvisations, giving space to every emotional twist, forming an intricate, fragrant Mandala.

The ragas symbolise, like a flower threaded sheet, intricacies of life… and more.


Lat uljhi suljha ja balam

Piya more haath mein mehndi lagi hai

Lat uljhi suljha ja balam

Mathe ki bindiya bikhar rahi hai

Apne hi haath laga ja balam

Lat uljhi suljha ja balam

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(Translation – Disentangle my hair, dear beloved/ I have applied henna on my hands/ So come and disentangle my hair, dear beloved/ The bindiya too is spreading on my forehead/ Correct it for me with your own hands, dear beloved/ Disentangle my hair, dear beloved)

This Bandish* in raga Bihag decorates time with a jasmine-rich fragrant emotion that vehemently values love and life.


*Bindiya – a colourful dot mark worn between the eyebrows, especially by married Hindu women.

*Bandish – a composition in Hindustani classical music.


Listen to a melodious version of this bandish now.

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A shorter version.

Complement this with another melodious post – Amir Khusrau and the Mustard Flowers


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O Apache!

One summer gleaming morning, back in the 90s, a musician woke up, looked at the world maze and its commuters when a rapturous beat filled his mind… it was a fusion, a fusion of ragga and bhangra beats… the musician knew it was the time to sweetly twist the great razzmatazz of the world maze drama.

And so Apache Indian, the British Indian singer and reggae DJ, mixing cultures, tunes and beliefs, London to India via Jamaica, created a new wave that danced its way into stiff-grumpy-busy society’s heart. His funky hybrid tracks spoke bluntly but always with the spirit to bring a change.

Staying true to its roots – the reggae music genre is known to attack social evils – Apache Indian tried to arrest some fanatic dogmas and set free our handicapped progress.

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“High caste low caste, we don’t want that,

Everyone equal, let us decide that.

High caste low caste, Sanu ni chahida (we don’t want that),

Saare jaane barabar (we are all equal), Maano rab da kehna (listen to the one God).”

Caste System – Apache Indian; Album – Nuff Vibes

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“Caste System”, “Arranged Marriage”, “Aids Warning”, “Election Crisis” are some tracks that talk about an era and some persistent crippling ideas, all composed in an upbeat style. The very vigorous sounds of bhangra beats give these songs a desi, identifiable and yet refreshing touch; the east and the west amalgamates beautifully.

Then the peppy catchy dance numbers like “Boom Shack-A-Lak”, “Chok There”, “Don Raja”, “Ragamuffin Girl”, “Jump Up”, and “Celebrate” call out to all the listeners to enjoy the moment.

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No.1 in a the Bombay chart
Indian me a tear them apart
When me come me bring a new stylee
So listen crowd of people and you have to follow me
Chok there – them a ball when they see the Indian
Chok there – raggamuffin under style and pattern
Chok there – when me come that a different fashion
First tune a say me do no it reach No.1
In a the reggae charts and the Indian
Chok there – see me face upon the television
Chok there – hear me voice pon the radio station
Promotor them a come them a rub off them hand
Keeping a session and them want it fe ram
Chok there – put me name pon the invitation
Chok there – pon the gate go raise a million
Me bring a brand new style upon the Island
Fe the black a fe white and a fe the Indian
So each and everyone come follow fashion

Chok there – dip your knee cork out you bottom
Chok there – everyone in a the Bhangra fashion
Nuff DJ them a have a fe them own stylee
Some a wa da dong deng same a come follar me
And some a them a say Oh Lord a mercy
Pnumina ick pnumina do and also in a three
But anytime me came me bring a brand stylee
So listen crowd of people and you have to follow me…


Chok There; Songwriters: Simon Duggal, Diamond Duggal, Steven Kapur aka Apache Indian; Album – No Reservations

Experimenting freely and successfully, Apache Indian collaborated with many artists worldwide, from Sean Paul, Maxi Priest, Shaggy, Boy George to A. R Rahman, Asha Bhosle, Bally Sagoo, SteroNation and Jazzy B.

True to his craft – music is all about innovation – Apache Indian continues to create fusion music, uniting converse genres, fostering harmony.

It was in the 90s, a summer dream that came true… not a super-sonic era, but moving towards one, grooving and listening to Apache Indian’s music… that was created with a hope, adding a little bit of this and that to ragamuffin magic, a hope to become better… a hope that is still alive.

O Apache, we are listening.


Some of Apache Indian’s popular tracks –







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Together We Enjoy Enjaami

Prose Poem

Kindly listen to the track before you start reading.

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Unabashedly bold and free, vivacious and ebullient, adamant like the silent stone, transforming every micro-second, Nature rules… and the ones living close to it celebrate and sing, enjaaee enjaami

Flowers shining bright, the rich yellow, orange, mahogany, red and white, the bugs, caterpillars and flies, the upside-down dancing struggling beetles, the sun-soaked green leaves, together – even when captured in a glorious painting – sing enjaaee enjaami…

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Rich yellow… shining bright.
[Image by AdelinaZw from Pixabay]

Whose is this land, this divided piece, this circled boundary, that 12 acres, that mango orchid, that dry-wet soil, that cool-cool well, that fragrance casting spell… certainly it doesn’t belong to the ones who toil round-the-clock and sing, enjaaee enjaami…

Festivities when unearthed by bare hands, the swaying harvest and booming lives of the lords, shacky mud-roofed huts full of laughs and cries… all sing enjaaee enjaami…

Grandmas and old voices together have knitted the folktales, passing it with pickles and homemade sweets, carrying it closer than a life lesson, breathing it day and night, walking and singing enjaaee enjaami…

Like a tree, like a giant tree, full of flowers, then fruits and seeds, then sweat and blood, patiently bowing, accepting it all… walks an old bent figure, bare feet, singing enjaaee enjaami…

*

Turn around, don’t flee…
[Image by Couleur from Pixabay]

Jackals, parrots, elephants, reptiles, dogs, cats, butterflies… give their share back, turn around, don’t flee… those sitting on margins know Noah and the King, then who will ultimately sink? I sing enjaaee enjaami…

The fiery soul that burns itself, weeding the flower bed and burning the dead, it runs the life, it spins the earth, decorating the darkness, breathing lightly it sings enjaaee enjaami…

So how can you forget, threaten, betray, walk astray…? Come, not in repentance but acceptance for then your blinded eyes will see the majestic drama, lament if you must, cry and shed it before you sing enjaaee enjaamee…

So listen, listen to the storyteller, the old voice-heart beats well, this beat matches your beat and look, your mind watches you sing enjaaee enjaami…


Enjoy/ Enjaaee (my dear mother/ dear lady) Enjaami (my feudal lord, master) Vango Vango Onnagi (come together to reap the bounty of nature).

This wonderfully powerful Tamil song is sung by Dhee and rapper Arivu (who has also written it); the song revolves around Tamil migrants (and labourers and all our ancestors) who toiled on lands but always remained landless and suffered due to poverty; the song emphasises on how the earth, the nature is for all living beings and not for the wealthy class/ caste.

This thought-provoking, globally popular number, asks us blatantly to check if we are hurrying in the right direction.


Decode Enjoy Enjaami, read these articles –

What Arivu’s Enjoy Enjaami Tells Us About the Cultural Resistance to Caste

Enjoy Enjaami a tribute to Tamil plantation labour

Enjoy Enjaami – A welcome start, say Sri Lanka’s Malaiyaha Tamils

Enjoy Enjaami: Deconstructing the Politics Behind Arivu and Dhee’s Latest


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