Where do we draw the line?

Sixto Rodriguez

It was the early 1970s. A pall of gloom descended on the dreamy boulevards of South Africa; and the streets wore a deserted look.  While echoes of a grim past and an uncertain future lingered in the crisp winter air, promises of a brighter tomorrow resurrected hope in the hearts of those who longed for a purposeful existence.

In the far corner of a dusty street lay a young man in uniform. As strains of soulful melodies crooned from his old transistor radio, he started humming against rustling leaves whilst staring at the picture of a Mexican guy with hat and sunglasses on the album cover:

Met a false friend
On a lonely, dusty road
Lost my heart
When I found it
It had turned to dead, black coal
Silver majik ships, you carry
Jumpers, coke, sweet MaryJane
Sugarman
You're the answer
That makes my questions disappear...

To those white South African suburbanites who wished to detangle themselves from the maze of a corrupt society, folk musician Sixto Rodriguez was a beacon of hope. For in his music, lay the essence of truth and veracity. His songs became anthems and fuelled inspiration to those who sought solace within the realms of an anti-apartheid movement. His music prompted every individual to question the fundamental need for a society that was dripping with disdain and immorality.

Although the world rejoiced and welcomed his revolutionary 'dystopic' ballads with open arms, Rodriguez was clueless about the power of his sound. For, in the United States, he was declared a 'failure' mainly because the country was not ready to embrace a Spanish guy named Rodriguez as a celebrity or a role model. Moreover, his music did not conform to the then mainstream norms.

Disheartened at the plight of the industry, he gave up his music career entirely and decided to become a construction worker. Rumours of his death lingered at every street in South Africa. Twenty three years later, a few people tracked him down and told his story. The artiste finally got what he deserved in 1998.

One of the many tragedies of humankind so far is that true geniuses get completely ignored when they are alive while imitators make big bucks by working on a pre-packaged formula. More than often artistes who have abandoned lives that conform to societal normalcy with faith that music can feed them are left utterly disappointed. And, despite music reverberating in its soils for centuries; the scenario is unfortunately no different in India.

From an organiser’s perspective, a strong music scene has to be built slowly in any country with commercially successful music — music based on an already existing formula – but where do we draw the line? When do we stop promoting mediocrity and start catering to quality music? Beyond any shadow of doubt, we have reached a point today where realising and truly understanding the importance of promoting quality music in India is of prime concern despite the poor revenue it generates.

Madhav Shorey

Nevertheless, this also beckons the question — if an organiser is always inclined towards commercial artistes and music then is he/she actually catering to the music scene or is it just a case of running a profit-generating business? Producer and owner of Qilla Records, Madhav Shorey , feels that any sort of innovative/fresh music or smaller movement takes sometime to gather the right amount of audience before it becomes self-sustaining and then profitable.

Moreover, in the long run, it will only work in establishing the right musical movement – one that stems from honesty and sincerity. There is no dearth of quality music nor is there a dearth of people following it or seeking it out in India. However, he also believes that the only way we could strive to achieve a musical sensibility that is attuned to both mainstream and experimental is by striking a balance between the two.
So, you start the scene with commercially successful music to establish the roots of the scene in a country but what number or what line decides that a scene or a ‘style of music’ has been finally accepted? And, when should organisers start taking the responsibility of educating people?

Having said that, it is understandable that in order to push a new wave of music organisers or promoters are often forced to play it safe and introduce a commercially successful sound purely to get the crowd accustomed to the genre before introducing them to a more eclectic musical experience. Rather than appreciating the nuances and eccentricities of an experimental sound; majority of the people today are stuck on sounds that are gaining rapid popularity. But what’s trendy today will go out of style in a few years and be inevitably replaced by a new trend or sound in music.

Nikhil Chinapa

According to Nikhil Chinapa , co-founder of Submerge, the unique thing about dance music or “EDM” today is that it is also the ‘pop’ or popular music of this generation. That’s why it looks excessively commercialised. “Today, we have several Indian artistes playing a deeper underground sound in more clubs across India. I personally believe in balance and creating an atmosphere that’s inclusive and not exclusive. That’s why I will sometimes take chances with artistes like Felix Cartal who I’m bringing in later this year or Marcelo Vasami who I brought in last year; while continuing to promote mainstream acts like Swedish House Mafia as well as underground artistes like Richie Hawtin,” said Nikhil.

Undoubtedly, it is important to not just feed audiences with what’s already popular, but also educate and expose them to different styles. And, this actually starts with local and resident DJs and not just international acts. In other words, it’s a symbiotic relationship between the resident DJs, the dance floor and the promoter. That’s how the scene is built; and not by any one of these entities.

If artistes, performers and organisers work hand in hand to develop a certain vision, taste and aesthetic it would work wonders for the whole country and bring about some sort of a revolution in our understanding. “If you’re doing it for all the wrong reasons, you might get fame and money for sometime but it’s not worth it. If all that effort is merged with honesty and a positive approach the feeling is unparalleled at all levels,” added Madhav.

It is of utmost importance that we engage and nurture honest efforts of musicians who have dedicated their entire lives to finding their unique expression of music rather than those who make music by a commercially successful and established formula.

Taking the leap

Vinayak Karthikayan

Musician Vinayak Karthikayan firmly believes that there are three kinds of organisers we have today – ones who would simply like to multiply their profits; ones who absolutely love the fame and fortune that the industry could provide and the third lot who believe in music and support artistes who have dedicated their entire lives to exploring various musical possibilities.

Organisers who have stepped into the game just for business can and will continue their efforts in the same direction of making more and more money by sticking to commercially hit acts. But what about those who get into event management to cater to quality music and support artistes?

Prateek Pandey

According to Prateek Pandey , who established sLick! a few years ago, initially, the investment far exceeds the returns. And, that is where a promoter needs to take a call — whether to pursue his passion vehemently or go slow; take a few precautions and take it easy. “It has always been easy to make gigantic profits by promoting popular music but slowly a large chunk of the population, in their quest to explore diverse musical realms, has been shifting towards the underground — the lesser know sounds. In the long run, for any music scene to sustain in a country, there has to be a balance between the mainstream and underground,” said Pandey.

Ashwin Babu Rao (left)

Accentuating on the importance of organisers also taking a strong stand on musical programming by involving ‘sincere’ musicians, artiste Ashwin Babu Rao  said that the key lies in recognising the true potential of underground music where people are in it with a sense of exploration and not imitation. “Today, the biggest players in the game are pushing the same artistes over and over again, making the ‘fresh ones’ invisible. Financially speaking, it is slightly harder to promote underground music as we know it in this country. However, I think the only kind of people who can actually make this difference are bodies that have a genuine concern for artistes,” said Ashwin.

Where Protima's dreams live......

Mankind has often sought in his quest for happiness; the creation of inner purity and true wisdom. And, in this unparalleled reflection of sanity and culture lies the sanctum of solitude. Hence, it comes as no surprise that art has often played a fundamental role in nourishing the evolutionary leap towards a greater understanding of life and humanity. With all its complexities and integrated heritage; classical art forms have aided humanity in spiritual guidance for centuries. The renaissance of Indian classical dance not only brought forth a seamless blend of variation in movements and expression; but also explored themes ranging from questioning perspectives to individuality. As we celebrate Odissi danseuse Protima Gouri's thirteenth death anniversary this month; we delve into the unchartered realm of dance, music and a greater consciousness with Nrityagram.

At Nrityagram, dance is a way of life, a matter of faith and belief, nurtured and enriched by the souls of its own people. As echoes of raaga, taala and rhythm reverberate in air; rustic elegance of the landscape revives one's mind, body and soul. The warm hues of stone sculptures embedded in earth exude sheer poetry. Founded in 1990, Nrityagram offers a sliver of ancient tradition and wisdom. The strains of melody floating in air are accentuated with purity and innocence by all the dancers at the Odissi Gurukul. This enchanting sanctuary of dance is devoted to the preservation and popularisation of the traditional dance forms of India.

Protima Gauri (October 12, 1948 to August 18, 1998) once said,"I dream of building a community of dancers in a forsaken place amidst nature. A place where nothing exists, except dance. A place where you breathe, eat, sleep, dream, talk, imagine -- dance. A place where all the five senses can be refined to perfection. A place where dancers drop negative qualities such as jealousy, small-mindedness, greed and malice to embrace their colleagues as sisters and support each other in their journey towards becoming dancers of merit. A place called Nrityagram." And, that is precisely how one would define their journey with this institute. Imbibing a holistic approach that seeks to create free thinkers and complete human beings; Nrityagram weaves threads of belief, enlightenment and implicit refinement. Gaurima’s ideologies and vision of creating and nurturing an idyllic dance village are brought to life everyday here.

Being an abode of peace, calm and tranquility; each and every living entity embraces the liveliness and beauty of harmony at Nrityagram. A glimpse of Odissi performed by Bijayini Satpathy (Odissi director Gurukul), Surupa Sen (artistic director) and Pavithra Reddy (soloist) passionately reveals a whole new dimension in the realm of dance. Portraying compliance, wrath and love with sensuous movements and gestures; each of these dancers resonates with the true expression of humankind. Aside from being a liberating experience; the synchronisation of physical and mental forms pulsating in tandem unleashes a certain sense of harmony.

"We conduct a special pooja on Gaurima’s death anniversary. Students and gurus honour her memory and vision with various dance performances. Apart from imparting dance education, through Nrityagram, Protima wished to shelter seven classical dance forms of India under one umbrella. And in order to achieve that, she strenuously sought to bring maestros from all over the country to this humble dwelling. Well, this place demands both physical and mental endurance. After a certain point, it was extremely difficult for most of the gurus to continue. Today, we concentrate on one dance form - Odissi. Protima Gauri was a visionary. She may have not been one of the most technically sound dancers but she was a spectacular performer. With no fear of being judged; she delivered an immaculate sense of vibration and energy with every routine. She literally owned the stage with each performance. Silence was her greatest virtue. She was undoubtedly an incarnation of courage, passion and love. At Nrityagram we follow a Gurukul tradition and believe in self sustained survival. And, in order to promote this philosophy, we encourage independent thinking and responsibility amongst all dancers. In fact, we even grow our own food here," said Lynne Fernandez, Managing Trustee.

Based on the ancient dance treatise of Natyashastra, Odissi is characterised by intricate lyrical movements and graceful gestures. The aesthetics of this particular dance form revolve around solitary grace and sophistication. Channelling energies through their mind and body; each dancer allows dance to consume them. Sensuousness in Odissi is a true revelation in itself.

"Well, dancing no doubt is a spiritually uplifting experience. The whole idea behind this particular art form is to go beyond and transport oneself to a bigger realm. These dancers (Bijayini, Surupa and Pavithra) have made that intrinsic connection with one another. Watching them transform into one organism and perform with utmost sincerity is a humbling experience for all. We also wish to revive Vasantahabba which is considered the 'Woodstock' of classical dance and music in India (in 2012). Living legends and leading artistes congregate together, under one sky, to make this fest unforgettable. Both urban dwellers and villagers are offered an insightful journey with Indian music and dance from dusk to dawn. The power of classical Indian art lies within us. And, through this fest, we have been able to move each and every individual (both old and young) with Indian culture. Vasantahabba is indeed a celebration of integrity and oneness. Apart from this festival, we also plan to strengthen further residencies and events at our Arts Lab. We have had the privilege of organising Sangam House recently where writers, poets and thinkers shared their writings and ideologies with everyone. It was a confluence of all art forms. Mahesh Dattani too has written a couple of plays here. We are constantly striving to bridge all gaps and welcome all art forms," she further added.

Amidst wilderness, armed with dreams; one woman's vision led to an entire movement of privileged thinkers and philosophers. Each of these dancers embody the grace and spirit of passion; ushering in an inspiring new era of Indian classical art.

Why am i responsible for the world ?

We live in a world stricken with murder, war and other elusive games we have conjured up to amuse us. A world floating in apathy, steaming with insecurity and hatred....

Who is to be blamed for this state we find ourselves in? We are. As individuals, as human beings, we are completely responsible for all the miseries; the world has faced over the past couple of years. How? Well, As Jiddu says , each one of us are responsible for every war because of the aggressiveness of our own lives, because of our nationalism, our selfishness, our gods, our prejudices, our ideals, all of which divide us. For centuries, mankind has been oppressed by mankind, every thought, that doesn’t conform to the existing norms of the society, has been sabotaged. Our reluctance in accepting information that would shatter our existing beliefs and norms has eventually resulted in the insinuation of a mythical supreme being who would set things right; instead of logically breaking down the problem. In order to understand the root cause of any problem, we must realise that we are all connected and are collectively responsible for all our actions spelling doom such as war for instance.

So how do we set things right? Adopting a laissez-faire attitude towards the society isn’t the answer nor is revolting against the established ordinance going to do any good. The only way we could establish change in the current system is by adopting a complete change in our current attitude. As John N Mitchell says, ‘our attitude toward life determines life's attitude towards us.’ Our attitude, feelings and actions can all be attributed to our thoughts. The living entity inside our head, generating the chain of thought processes, thereby causing an action or a reaction, is what made our history and moulded our present. We need to truly understand the implications of our thoughts and its effects to everyone. Our reality is nothing but a manifestation of our thought process into action.

So, that leaves us with one conclusion, our past, present and future were all created by us.

Masaru Emoto, a Japanese author and an entrepreneur has claimed that if water droplets are subjected to human speech or thoughts, the resulting image of the water crystals would be beautiful or ugly depending on the thoughts or words projected onto it. A little hard to believe isn’t it? Imagine, if words could do that to water, what could thoughts do to us?

What we need to understand is that, thought is a living force. A change in thought is accompanied by vibrations of matter and it is these vibrations that we respond to in the form of emotions or reasons. And, when we change our thought, our mind moulds itself differently, leading to an entirely unique experience.

Think about it!! If all it takes to make your world a better place to live in, a world devoid of any boundaries, a world without any chaos and destruction, is one thought, unfolding into actions of endless possibilities, then,
Maybe, it is about time you ask yourself, ‘Why am I responsible for the world?’

Raise Your Voice

She wept herself to sleep every night, writhing in pain, wishing tomorrow would be a better day. Little did she realize her life, her hopes ,her dreams were about to be shattered, for her predator laid its eyes upon her, the very instant she opened hers, joyfully welcoming herself into this pitiful world. A world rotting in filth deeply encrusted with misery. She belonged to a family, like any ordinary individual, and was expected to fit in, and embrace the socially accepted norms, which were always designed to slaughter her happiness, her rights as a human being and most importantly her freedom. ‘Maya is there anything you wish to tell me,’ would ask the spectacled man sincerely hoping for an answer. ’SSShhhh, it knows’, replied Maya distracting herself yet again, by pouring him some more coffee.

Indeed, it was aware of her presence, her desires and hence, stealthily made its move, one step at a time, savoring every moment groaning ‘Mayaaaaa’. Life wasn’t the same for Maya, for she no longer knew right from wrong. She could no longer anticipate what lay ahead of her, whether or not she would rise from the ashes, whether or not her predator would cease to exist, putting an end to all her misery and misfortune. Am I Bad? She thought as tears streamed down her innocent eyes, for she realized for the first time in her life, she had lost her own identity.

“Maya, you are responsible for what happens to you”, it would tell her every day and make her repeat it often, so she wouldn’t dare forget.
She waited, once upon a time , everyday on the roof for its arrival, when the sun went down, eagerly anticipating, what’s in store for her tonight, Will it tell her tales of cheetahs and tigers or sing her to sleep? ”I know you, Maya, more than you think I would”, said the predator.

Until one day, she bled from her heart, her soul, for this was the night where no stories were told, no cheers were heard, and no voice escaped her throat, the night when her mom said,

“Maya, beta your chacha wants to tell you stories on the roof, now run along, get wiser.”

The night, when the predator had its prey.
She was no longer the Maya, she knew, for the, nights of no tales, continued to haunt her every night for the rest of her life as she wept herself to sleep …

This is the story of every 10 yr old, with a trustworthy uncle/servant/man in her life, who knows everything about her, who understands her well, makes her happy and shatters her hopes and dreams by committing such atrocious acts. This is the story of an ordinary Chotu uncle/Ram Singh/man who befriends the young one, sharing his knowledge and wisdom and eventually making her pay for it. ”Let us play a game, where I will be the eagle and you my prey,” said chotu uncle. And boy did he love to play this game every night.

Giving up in despair is the best Maya could do, for the fear of being blamed or sabotaged by her family, vanquished the hope in her for a better life, leading to depression and ultimately death. It is a well known fact that women, who raise their voice against crimes, are silenced forever, for they are nothing but a menace to the society and a disgrace to humanity in general. Wake up !!! Pay attention to your MAYA. Protect her from evil. For your home may no longer be the safest place in the world for your child.

“I ll be watching you MAYAaaaa ….”


STOP CHILD ABUSE.RAISE YOUR VOICE.
Dedicated to a MAYA in you and me.