Article + Interview: Chitra Neogy’s Perfumed Garden: A Journey Through Time and Sensuality

Chitra Neogy’s Perfumed Garden: A Journey Through Time and Sensuality

In the late 1960s, a unique musical gem was born. Chitra Neogy’s album The Perfumed Garden, released in 1968, stands as a symbol of the fusion of Eastern mysticism, spoken poetry, profound psychedelia, and traditional Indian instrumentation, creating an immersive listening experience.

Chitra Neogy, a mysterious figure with roots in the fine arts, embarked on an odyssey that took her from the halls of the University of Calcutta and Santiniketan (both in India) to the cosmopolitan streets of London. More on that later. It was especially in London where Neogy expanded her horizons, diving into drama and film at the prestigious Royal Academy of Dramatic Arts. Her artistic journey was multifaceted, as she also worked as a high-fashion model — a path that eventually brought her to the attention of photographer Marcus Harrison.

The Birth of Perfumed Garden

In the heart of London, a unique collaboration arose between Chitra Neogy and Marcus Harrison. Armed with nothing but a microphone and a book, Neogy embarked on a remarkable endeavor to bring to life a fifteenth-century work titled The Perfumed Garden, written by Muhammad ibn Muhammad al-Nafzawi. While Neogy breathed life into the timeless words, Harrison wove melodies of sitar, tabla, and bansuri around them.

After presenting the album to various labels, Perfumed Garden found its home under the banner of Pulsar Records, which pressed the album in 1968 in the USA, England, and Belgium.

Each track on the album offers its own narrative, weaving stories of love, passion, and sensuality. From “The Invocation,” inviting listeners on a fascinating journey, to “The Hymn of Praise,” echoing with mysticism, all tracks paint a vivid sonic picture.

French ambassador André Malraux was among the many voices praising Neogy’s captivating sensuality. Comparisons to legendary figures such as Laurence Olivier, Yma Sumac, and Eartha Kitt underline the uniqueness of her vocal abilities.

The Reissue of the Album

Jumping to the present, the reissue of Perfumed Garden on the US label Modern Harmonic takes on a new form while preserving the essence of the original and introducing it to a new generation. The reissue comes in a vinyl box set, which also contains a substantial booklet. Included is the historical text, written by al-Nafzawi in the fifteenth century, bridging centuries and offering insight into the past. The involvement of producer Big Jim Sullivan, himself a gifted sitar player, reinforces the album’s musical expertise and ensures a seamless fusion of elements beyond time and genre.

Now, moving on to some deeper knowledge about Chitra Neogy: I once had plans to re-release her album on my then label. Unfortunately, the project never came to fruition. However, I have since been accompanied by an interview I had the privilege to conduct with her. I’d like to share some noteworthy insights from her responses with you here.

Interview with Chitra Neogy (January 2018):

In the 60's, when you recorded your debut Album "The Perfumed garden", you were just in your early twenties. Your parents had an Indian origin, but you lived with your family and raised in east Africa. What impact had this cultural mixture on you?

My parents are from Bengal, India. They went to East Africa as educators and to oversee developing educational institutions. The name Neogy is not a surname but a title and the origin of the name is from aristocracy, politicians, artists and philanthropists. Since my parents were in East Africa we were all born there. Both my brothers chose to continue their higher studies in London, England, and I chose India. Even at a very young age, I felt the need to re-align with my culture. Somehow India felt very much my birthplace even though East Africa was. Being in college there for several years during the most poignant years for me molded my essence and me. The depth, nuances and richness of the culture inspired and shaped me.

At the age of 16 you left home to study in Calcutta. You where young and a lot of changes where going on in the world and in society. Subcultures became an important thing, oscillating between seriously meant ways of living, loving and being, and a hip trend, soon to be marketed.

However, can you tell us how life was for you at this time of your life and how you experienced what was going on? What was catching your attention that time?

From a very early age as long as I can remember, the words, ‘I want to express myself’, was the most important thought I had. Even though there were all kind of social barriers and restrictions for a young Indian woman, I had no interest in being bound down by them. I wanted to find my artistic voice and cultivate myself as an artist. Expressions like performing on stage, dancing, speaking for an audience were natural to me and all I wanted to do was continue to nurture that. I was very fortunate to have an amazing father who recognized this and my talent and supported me all the way. This trust and invincible belief in me gave me the strength and power to follow my passion against all social restrictions and odds.

After you studied and had been touring all over India, you finally went to England. Again there was a cultural change. What differences did you expect and how turned it out to be then?

I was alone when I went to London and at first was quite shocked at the coldness both in the climate and the attitude of the people. I found the culture suffocating and strange and empty. But I quickly adjusted to it without trying to fit in. Even though I was so young I distinctly remember what I wanted to absorb and all that I stayed away from. I was not seduced by the superficialities and false social game plays. I had an uncanny sensibility of choosing what inspired me the most. I also knew that was the right place for me to find and discover my talents.

And since there is a huge anxiety and a lot of perverted forms on the whole love & sex topic, that got widely (but not only) caused during the Christianization in Europe and elsewhere, and suppressed the natural knowledge. So western society still carries a huge burden of believes of sin & hellfire, when it comes to love and sex, although the 60's and the decades after brought significant changes.

The ignorance and taboo on sexual topics in western society was a shocking contrast to what you knew from the East. Can you give us examples of such contrary situations or believes?

At that time in London, while studying and pursuing my acting career, I was also modeling and doing what I could to support my self financially. Once, during a photo shoot the photographer who also was a recording artist mentioned that I had a very striking voice and asked me if I would like to record something. I was excited and picked up a book that he had nearby. The book happened to be The Perfumed Garden. Since I was extremely versatile with cold readings with no preparation, I just began reciting lines. He was stunned and amazed with what he heard and said that he would like to record the whole book with me if I was willing. Without any hesitation, I agreed. For me there was and is no difference between sensuality and physicality. The body and mind and soul are one with no duality. I never felt any separation and only saw absolute beauty in adoring oneself. The Kama Sutra, from which the Perfumed Garden was inspired, is not just physical postures, it is a philosophy of love in its deepest sense and that is how I approached my rendition to the recording.

Besides that shocking experience of western mindset, can you give us an idea of what the poetic Perfumed Garden is about, so western citizen can see and understand some of the ornamental and filigree love that does underlie it?

While I'm writing down these questions I have to admit, that I'm no expert with eastern philosophy, tantra, kamasutra & co. and that most of my knowledge about it is of intuitive nature. But I know of it's huge contrast compared to western conditioning. What would you say are the most important points  to make western persons understand the basics?

I think that the problem with the western mindset is that there is always a separation and a sense of duality to everything. This dualistic approach to life defies the true nature of the essence, which is an oneness to everything. How can one live in separation and in bits and pieces and look at life in fragments. In approaching life and thoughts and manifestations in this way, the very core and axis is ignored. In the same way when body, soul and mind are separated like a dissected animal, there is no harmony and only a distortion of what is truly beautiful.

There are still some patriarchic undertones, as I felt while reading the original linernotes on the backsleeve. Things like "...satisfying the physical woman" and "...woman are what men make them" - feel somehow onesided, faraway from nowadays spiritual western self-empowerment movements, who's highest goods are individuality and who would answer in a manner like "everyone is already someone - him/herself doesn't need an adjustment by someone else but his/her higher self, which is then more like an unfolding and growth".

Is there really such a kind of difference in the notions or does it ground in some kind of misunderstanding of eastern mentality.

I think that those notes/ lines are definitely patriarchic if read out of context. The perfumed garden was written at a time when maybe patriarchy was not interpreted as we do now. The woman seen as a flower who leases is beautiful when seen from a point of true femininity. She is NOT less because she is the receiver and she is not less because she portrays vulnerability and gentleness. She is not a feminist. She is a true woman and her giving is also her spear and her sword. That is another misconception in western culture. Women are too busy trying to prove themselves as equal to man, when they are actually superior in more ways than one. A true woman is a phoenix. She is a Warrior. Her vulnerability is her divine sword!!!!