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The Song-Bird of St Petersburg pays tribute to Sri Chinmoy at the Royal Albert Hall

Boris Purushottama Grebenshikov is a living paradigm in the world of music and poetry, justly lauded in his Russian homeland and throughout the world. Tapping the ‘infinite silence’ within as a source of his prolific creativity, his songs are his direct interpretation of the universal musical consciousness.

No wonder then that he found in Sri Chinmoy a profound inspiration. With almost 1600 books to his name and over 21000 songs, here was a Spiritual Master who shaped his own life’s service from the very fibre of music and poetry, singing the songs of Heaven into the ears of the earth.

Sri Chinmoy was born in East Bengal, 1931. Following an inner calling he moved to New York in 1964, to be of spiritual service and inspiration to the west. From then until his passing in October last year, his meditation brought forth a wellspring of creativity in many fields.

Sri Chinmoy met Grebenshikov in 2005, and offered him the spiritual name Purushottama. A unique friendship blossomed from there. The immediate bond between teacher and student was exceptionally deep given its outer brevity; a recognition and reflection of true inner harmony. In Grebenshikov’s own words:

“Before meeting him I could never imagine I would see with mine own eyes the enlightened spirit operating from within the frail human body. It made me realize we do not really understand how strange it is to be fully realized in the world that misunderstands Divine realization. And I am endlessly grateful for his love and unflinching selfless courage.”

As part of his soulful service, Sri Chinmoy offered over 700 free public concerts in the span of his life, which he dedicated to World Harmony. London’s Royal Albert Hall ranked among the most notable venues, where he last performed in October 2003. In this same spirit, and at the same venue, Boris Purushottama Grebenshikov paid tribute to him last week.

Under a 14-foot portrait of Sri Chinmoy, flanked by statues of Ganesha and Saraswati, the setting was an Indian garden at night. An enclave of trees and glowing candles waited on a backdrop of winking galaxies. Hoards jostled outside for a place in the hall, peering over galleries high up into the roof to catch a glimpse of the artist. The legendary Song-Bird of St Petersburg entered with a smile of joy equal to his air of poise and humility. As he took centre stage his audience could not have been more attentive, appreciative, or more alive with electric anticipation.

Some 20 musicians joined him, mostly from the Indian and Irish genres, and some of the finest in their fields. Two were from Grebenshikov’s original band Aquarium, which dates back to the early 1970s. The tabla talked in rhythm to four Irish bodhrans; a sarangi sang sweet melodies over a group of classical strings. The fiddle, tin whistle and Uillean pipes carried on an Irish banter with such unbounded effusion, precision and harmony, that the crowds could not contain their shouts of delight.

All the while Grebenshikov was an ocean of depth, speaking through an acoustic guitar as if it were a part of himself. His singing voice itself was, as always, an exquisite blend of strength and sensitivity; ageless and imperturbable wisdom with a sweet and heart-melting centre. The essence of the poetry, although mostly in Russian, could be felt even by the uninitiated, such was its earnest delivery.

The songs vaulted from pin-drop soulfulness to ebullient joy, via countless spirited forays into new musical realms. They stopped neither at folk, nor jazz, nor rock, nor classical, nor world music, but spun into a whirl of all these, where no division or identity could be defined, where music sprang forth unbounded and unadulterated from its source.

As a finale, Grebenshikov offered a bhajan he wrote in Sanskrit for the goddess Saraswati, and a loving song in the ballad style, which he wrote for Sri Chinmoy during one of their earliest meetings. The Sri Chinmoy Centre Choir accompanied him on the refrain:

“O, Guru Sat, we may be far apart,
O, Guru Sat, forever in my heart.”

It was a poignant end to a magical evening; an evening whose spirit seemed to have no age, no beginning, no end; no limits or worldly boundaries of any kind. With simplicity and utmost self-giving, Boris Purushottama Grebenshikov offered a tribute to his teacher which was at once fittingly grand, heartfelt and joyous.

IMAGES:
Portrait of Boris Purushottama Grebenshikov by Antonov Pavel

LINKS:
More about the concert at GrebenshikovConcert.com
Review by Tejvan Pettinger at SriChinmoyBio.co.uk
Photographs of the event by Pavitrata Taylor at Pavitrata.com
Download a PDF of the official programme (26Mb)

It’s been hot in England. That’s newsworthy enough, but you know how we Brits love to talk about the weather. It seems like summer is just around the corner, (perhaps somewhere in Spain or Portugal). The tulips are big as goblets, the birds compose new rhapsodies until bedtime, and new-mown lawns send out their familiar green perfume, which itself acts like a happy pheremone on me. All these triggers lay forgotten in my mind through winter, as they always do, to be rediscovered like a perennial gift each year, never losing their thrill.

Another sure sign of summer is the flight of hot air balloons in the morning. The long roar followed by soft silence tells me they are coming near, and I rush to the window to find them in the sky. I have never flown in one, but so love to watch them, strangely fast and graceful for their imposing dimensions.

I lived in Bristol for a few years, and always looked forward to the annual Balloon Fiesta. Up to 100 balloons gather together from around the world, in all their fantastic colours and shapes: there a flying mobile phone is not out of place next to a floating dog, a fire extinguisher a similar size to an entire inflatable cathedral. At night they stay tethered to the ground with lit flames for a beautiful “balloon glow”. In the early morning and at dusk they mount the sky in flurries. To see them closely and in numbers is to witness not only their true size, but their unique charm.

Now that we have more reliable methods of flight, the hot air balloon has been reduced almost to a novelty; largely the plaything of champagne breakfasters and the mouthpiece of corporate advertisers. In 1783, however, hot air ballooning was a more serious, and a much more dangerous affair. An intrepid (probably unsuspecting) sheep, duck and rooster were the first passengers. Following their survival of 15 minutes in the air, the Montgolfier brothers took off from Paris two months later, not only staying up for 20 minutes, but also, like the farm animals, staying alive. Human flight (with any notable degree of success) was born. [source]

That which flies is not necessarily light in weight though, as any jumbo jet will tell you. Last year my meditation teacher Sri Chinmoy (then aged 75), lifted some hot air balloons, seated with one arm overhead. They are not so buoyant beneath their natural habitat of sky. A 140-foot tall rabbit weighed in at 369 pounds (167.4 kg), followed by a multi-coloured 90-foot balloon at 397 pounds (including the pilot and basket).

Speaking of Sri Chinmoy’s one-arm seated lifts of a 575 pound (260.8 kg) dumbbell a few days earlier, longtime registrar of the British Amateur Weightlifters Association Jim Smith commented: “Sri Chinmoy is giving back to people the importance of having the mind, body and spirit together. No other human being on earth has ever lifted over 3 times their own body weight, even with two hands and while standing!”

Up until Sri Chinmoy’s passing last year, age 76, he strove to inspire people to transcend their limitations through sports and meditation. He was also a prolific writer. Here is one of his many uplifting aphorisms:

You do not have to fly
To the blue-vast sky.
The blue-vast sky will enter into you
If you turn your mind into
a silence-home.

—Sri Chinmoy
From Twenty-Seven Thousand Aspiration-Plants, Part 211

You can find our more about Sri Chinmoy’s weightlifting feats, and see some video clips, at Sri Chinmoy TV

Emily Dickinson referred to herself as a pagan. Some biographers would go so far as to label her a druid for her worship of nature. But was this apparently stubborn heathen life really built on atheism?

On the surface what seems a blatant rebellion against the Christian reforms sweeping New England in the 19th Century could be misinterpreted as a lack of spiritual inclination. If we look beneath even a single veneer we will undoubtedly find true spirituality at the heart of her endeavour; far from snubbing God, but simply insisting on no less than a first-hand experience of Him.

The poet shunned religious doctrine, but did she shun religion? Certainly not as a whole, and even then it may be merely a matter of syntax. The words ‘religion’ and ‘spirituality’ may at times be used interchangeably, and at others a fine distinction must be made. Charles Anderson chooses to make no distinction, using the word ‘religion’ in its broadest, and perhaps most primal sense:

“The final direction of her poetry, and the pressures that created it, can only be described as religious, using that word in its ‘dimension of depth.’”

Emily inherited the Puritan traits of austerity, simplicity, and practicality, as well as an astute observation of the inner self, but her communication with her higher Self was much more informal than her God-fearing forefathers would have dared. The daughter of the ‘Squire’ of Amherst, she came from a line of gritty, stalwart pioneers, carrying what was almost considered the blue blood of America. Her family was far from poor, but she did not lead a lavish life, for the Puritans abhorred luxury and waste (even a waste of words, which trait the poet did well to inherit).

She accepted the Puritan ideals of being ‘called’ or ‘chosen’ by God, and fully embraced the merits of transcending desire, but not the concept of being inherently sinful:

“While the Clergyman tells Father and Vinnie that ‘this Corruptible shall put on Incorruption’ it has already done so and they go defrauded.”

She had faith in her own divinity, so perhaps she was yet more certain of God than her peers. She did not claim to fully understand Him, or even to have perennial faith in all His Ways—her poetry bears a continuing strain of doubt—but she certainly did not fear Him. The inner freedom this afforded her—rare for a woman of her time—brought her to the point of being almost cheeky in her familiarity and certainty. This confidence fed her poetry sumptuously, and gave it the well-known child-like quality. To her, truth was in nature. In that beauty she could see and feel God directly:

Some keep the Sabbath going to Church —
I keep it, staying at Home —
With a Bobolink for a Chorister —
And an Orchard, for a Dome —

Some keep the Sabbath in Surplice —
I just wear my Wings —
And instead of tolling the Bell, for Church,
Our little Sexton — sings.

God preaches, a noted Clergyman —
And the sermon is never long,
So instead of getting to Heaven, at last —
I’m going, all along.

Emily did actually attend church regularly, sometimes traveling to hear some of the rousing and charismatic preachers who stamped their mark on that era. She was often moved by these sermons, perhaps as compelled by the speaker’s delivery and the construction of words as the message within them. But this was not enough to entice her to succumb to the fierce religious revival. One by one her friends received an inner calling and were ‘saved,’ officially accepting Christianity. Members of her close-knit family eventually followed suit, including her strong-willed father, and finally her brother, Austin, perhaps her closest ally. Emily would not commit to something she could not sincerely feel, even under the unthinkable social pressure that surrounded her.

Until the age of 30 she continued going to church, although she was excluded from certain meetings and services open only to those who had been ’saved’. She became increasingly reclusive throughout her 30s. It is tempting to see her seclusion as further evidence of spiritual asceticism. Her spiritual path was certainly intensely lonely in such a social climate, but she craved aloneness more and more, and seclusion somehow formed a symbiotic relationship with her art. Increasingly her art became an expression of her spirituality.

Immortality (“the Flood Subject” as she called it) consumed Emily’s consciousness. Dwelling on death was natural in those times as illness and general hardship frequently took lives around her, her awareness heightened further by the many years spent in a house adjoining a cemetery. But dwelling on death was also almost a spiritual practice, a ‘graveyard meditation,’ a means of focus, breathing life into the concepts of Eternity, Infinity and Immortality.

Poet and philosopher Sri Chinmoy said of the poet:

“Emily Dickinson wrote thousands of psychic poems. One short poem of hers is enough to give sweet feelings and bring to the fore divine qualities of the soul.”

“With a deep sense of gratitude, let me call upon the immortal soul of Emily Dickinson, whose spiritual inspiration impels a seeker to know what God the Infinite precisely is. She says:
‘The infinite a sudden guest
Has been assumed to be,
But how can that stupendous come
Which never went away?’”

From Patriots of America by Sri Chinmoy

What drove her consistently was that she needed truth, and at any cost. She needed to see it with her own eyes and feel it with her own heart, not grasp at it in the words of a clergyman but explain it to herself through her own words. It seems she was even ready to die for her cause:

I died for beauty, but was scarce
Adjusted in the tomb,
When one who died for truth was lain
In an adjoining room.

He questioned softly why I failed?
“For beauty,” I replied.
“And I for truth, —the two are one;
We brethren are,” he said.

And so, as kinsmen met a night,
We talked between the rooms,
Until the moss had reached our lips,
And covered up our names.

Emily’s truth-seeking was a spiritual quest that governed her inner life, and naturally blossomed through her poetic works. Her own words, in a letter to a friend, succinctly claim Eternity and Immortality as her own. Perhaps they also presage the enduring spiritual appeal of her writing, far beyond the short span of her life:

“So I conclude that space & time are things of the body & have little or nothing to do with our selves. My Country is Truth.”

I was in the sea, snorkeling I think, or maybe diving. It was a long time ago. The sun heaved magnificent light into an already magnificent ocean, and all was bathed in lucid unearthly beauty below.

I was very fond of cowfish. They were like cartoons, little horns like raised eyebrows, boxy bodies puffing happily in and out as in a fit of laughter, big dark eyes, two arms fluttering—seemingly too small to do for anything but decoration. They always looked young, with childlike curiosity, as if so sure their own cuteness would keep them out of danger.

Their colours varied like all things in the sea, wearing different shades even when a cloud passed overhead. They were always brilliant, as if generating their own light, and always in such complex detail as if embroidered with a very fine needle and silk.

Someone caught one in one hand. The hand broke the surface and there she lay on the broad of the palm, in the raw blades of the sun, with no significant fins or tail to flip her back to safety. Her body looked instantly starved, the skin now dry in mottled greys stretched over a tiny twitching skeleton, eyes like dull flakes of flint, mouth and gills straining and sucking for a life she might never feel again.

I, like the cowfish, did not know the intentions of the human hand. For all we knew she’d breathed her last of the ocean, in the homely gardens of a coral maze. I held my breath with her, unable to speak or act in a daze of horror. The hand closed around her again

and let her go.

She puffed downwards as if squirted from the bulb of a pipette, her colours instantly proud and resplendent in the sun, now through its proper lens of sea. And she was gone.

I was told that it was all for me—so I may have a closer look at her when she was still. Still, I thought. But it was not her at all. Fish are colour and movement. I saw only the shrouds of death closing around her. Ridiculous. How can she be herself when she is in the air. I remained silent for a long time.

If it is true that fish have short memories then she would have been unchanged by the trauma, but I carry it with me everywhere. I glimpse her when I feel coerced by others—even when their intentions are innocent—to be something other than myself. True, I am in no mortal danger, but I am reminded that what is comfortable for others may be harmful for me. She reminds me to allow others their freedom too; to let them be as God made them, in their own proper environment. Only then may we each laugh and let our colours shine as He intended. I still have a way to go, but the shock of the cowfish makes me try.

“Accept God’s Will
Happily,
Rejoice in God’s Will
Proudly,
And move on with God’s Will
Speedily.”
—Sri Chinmoy
Twenty-Seven Thousand Aspiration-Plants, 25101