Why we need to do more for the Veena

Dear rasikas,
I am penning my thoughts that have been jostling for expression for some time but have reached the critical mass this morning.

I believe we need to do more for the Veena.

I believe that in fostering the music of the Veena, we will be doing a fundamental service to ourselves in strengthening the basics of Carnatic music and also reviving the art of the greatest string instrument invented in India long back. Obviously this is a subject for debate and I welcome more competent, persuasive and influential rasikas to contribute to the discussion.

I list below my own thoughts:
1. The Veena is an ancient Indian instrument identified with Vedas, classical music and creativity. The most ancient texts refer to the instrument as the one played by Saraswati, Narada, Shiva and Ravana, among others.
2. The famous words of Sage Yagnavalkya are: "veenaavaadanatatwagnah shruti-jaati-visharadah taalagnascha aprayaasena mokshamaargam niyachati" meaning that one adept in the Veena, classical music of ragas and talas, will take the path to liberation easily.
3. In the hands of Saraswati, it is held delicately, and played with feminine grace, in the hands of a Ravana or such, it is full of masculine vigour...so versatile!4. All great Carnatic musicians have extolled the Veena, including Thyagaraja and Dikshitar, himself a great vainika.
5. When a Veena maestro attributed the felicity of MSS's music by stating that she had a built-in Veena in her vocal chords, he was idiomatically stating that a mastery of the Veena and its nuances will strengthen one's overall mastery of vocal music.
6. Listen to this track:  http://is.gd/eMxqZN How exquisitely the KSN Veena embellishes the vocal music of SSI! The Veena can add great weight and depth to vocal music. In fact, many great musicians have sung while playing the Veena themselves. This is impossible perhaps with other instruments. And the ergonomic arrangement of the Veena as we hold it today helps to give space to vocalisation easily, and it looks also beautiful. I remember Smt Rajeshwari Padmanabhan was so good singing along with the Veena.
7. If we give the right place to the Veena, we will have more great maestros like S. Balachander. Listen to this track: http://is.gd/qhocVy. He does incredible improvisation, and in fact the violinist and mridangist have to exert themselves to keep up with him. (I am not sure, is it raga bhavapriya?)
8. Carnatic music is based on 22 srutis. The instrument which readily expresses gamaka music is the Veena. I remember the lec-dems of Smt. Vidya Sankar in this regard.
9. The Veena has a built-in rhythmic element, thanks to the tala strings. It makes it a one-man symphony.
10. In the hands of a Chitti Babu, it sounds incredibly sweet, even merely playing a scale makes great music.
11. It adds so much lustre to even light music. The other night, Ilayaraja's orchestra had Rajhesh Vaidhya centre-stage with the Veena. On request, he played a great two-minute Kapi. The effect was profound.
12. We lament the decibelisation and electronification of our music in general. The right antidote is the Veena. It immediately ushers us into a soirée, with such a profound intimacy with the artiste. It makes for real naada yoga.
13. In the right hands, the Veena can sparkle so well, from the Varnam to the Tillana. A great Veena exponent is Smt. Jayanthi. I really wish her Veena had a higher pitch and a more vibrant metallic timbre (a la Chitti Babu) but still her music is SO EXPRESSIVE AS IT IS. She was also an exquisitely beautiful presence on the stage some time back with her Veena in BGS.
14. Indian culture was always rooted in subtlety and refinement.

The Gayatri is whispered into one's ears during upanayana. We have oil lamps in the sanctum sanctorum. We have the subtle fragrance of flowers, not nose-dazzling attars. The Veena is the epitome of subtlety. By relegating it, by drowning its music with decibels and keyboards and such, we have driven it to nearly being qualified as an endangered species. No wonder we now want to go back to soukhyam, raga music and such.

An easy way? Encourage more youngsters to take to the Veena. Celebrate this great instrument. Attend Veena concerts. Recognise talent. Let us not wait for another avatar of another mahavidwan like Balachander to crusade for the Veena. Let us give Veena a chance. We will surely have many more great Veena maestros. And go back to the roots of Carnatic music.

PS: am I raising a subject already discussed here? Are people likely to go into a debate on what is the right definition of a Veena? Are people going to argue about its construction deficiencies, transportation unfriendliness etc.? I don't know. But I still feel what I wrote here is worth a revisit/consideration. And While we are at it, why not improve the mechanics and quality issues of the Veena and its sound reproduction?

- Posted using BlogPress from my iPad

What is the Big Difference between Bonda and Bajji?

In response to the earlier post, I have received a question:
What a pity Sachi, I really really feel bad for your predicament! ;( What is life without being able to access spicy and authentic Masala dosays and hot Idlees and Vadaas and Pakodaas ofcourse not to forget your Bajjees and Bondaas - at our favourite joints, with the other cultural things you have mentioned..
But then I don't know if you even remember that I had prophecied this to your wife when you were contemplating settling down there at Indiranagar! I utterly failed to convince her to buy property in the viscinity of our house at Mvm those days. Dhuduku saar dhuduku!....
Adirali, now can you please clarify this nagging doubt of this paamare saar?
1. What is Bajji and what is Bonda - in the first place?
2. Aren't they one and the same like Gyana and Bhakthi? (borrowing Rajaji's woderful expression from his introduction to MS's Bhaja Govindam followed by Vishnu Sahasranaama Stotram rendering - way back)..
3. If they are not, then pray tell me what the fundamental difference between them is, though?
I always thought that Bajji is the borrowed term from Northies for our own dear Bondaas..
I am sure that it is only your pen (Android) that is capable of clearing - profound jigyaasays as this one of mine - successfully!!..
Thanks in anticipation and regards..
- V the P.
Here is my answer, a bit long, sorry, but the serious subject deserves such treatment:
Dear Vanee the Pandite,
Yes, even I failed to convince Rathna the disadvantages of living in a lousy place like Indiranagar. She would have agreed to move if I had resigned from my job etc.
Now coming to the vast and fundamental differences between Bajji and Bonda.
Both Bajji and Bonda trace their origins to mid Indus Valley Civilization. Nobody knows for sure why the civilization ended but they do know that without Bajjis and Bondas, it would have ended sooner.
Both Bajjis and Bondas have been responsible over centuries in prolonging civilizations and maintaining world peace. In fact people say that Napoleon, Hitler and other warmongers basically failed to satisfy their cravings for fried spicy vegetable-filled Bengal-gram batter covered deep fried savouries recommended by ancient wise men to be eaten hot and fresh in late afternoons and evenings at least four or five times a week. This culture was cultivated only by Aryans living along river banks from Ganga Jamuna to Cauvery and hence India is the only country that did not start a war with another.
If you visit the royal kitchens of Jodhpur, Bikaner, Varanasi and Vijayanagara, you will find large frying pans marked as sacred vessels for royal peace-keeping activities.
Now coming to the scholarly question about what is the difference between a Bajji and a Bonda.
You see, just like there are four Vedas, there are four types of sacred eatables. They are
Bonda
Bajji
Samosa
Pakoda
There are many Upa-Vedas like Vada, Kachori, Upperi etc but they are neither original nor authentic.
The four principal Vedas are
Bonda - Rig Veda, it is dedicated to worshipping planets. Hence it is round. It represents Hiranyagarbha. It contains cooked, spiced vegetables inside. A good Bonda like mother earth will retain the internal heat for a long time. Frequent Bonda yagnas will confer a round shape- face, belly and even the entire body. Good examples are you and me and Alaka.
Bajji - Yajur Veda, it is dedicated to elements - Fire, Water, Earth and Air. Fire is chilly Bajji. Water is hirekai. Earth is brinjal. Air is alu. These are the central pillars. The vegetables are sliced and deep-fried in batter, which is spiced. People have deviated with using cauliflower etc. they are not sanctioned in the Vedas. Bajjis are basically flat. But inside the stomach they take a round shape. It is because of the various elements.
Samosa is Sama Veda, it is so good that it makes you sing. Like Sama Veda, born in upper reaches of Himalayas, it also has esoteric cooked and spiced vegetables, but it has a four corner or three corner diamond shape. It is NOT cooked in Bengal gram flour but rice or maida. It is a rare art to make good samosas. Both Pandits and Pamaras enjoy Sama Gana and Samosa.
Pakora or Pakoda is Atharva Veda. It shows Greek and Spanish/Mediterranean influences. It is a mish-mash of onions mixed up in batter and fried. It can be spicy or bland, depending upon if it is consumed along with soma rasa. It was principally offered to Indra (who has one thousand eyes and a bad skin). It is not recommended for consumption by Brahmanas.
It seems that Gobi Manchurian, a favourite of some culture-less Indians, is actually based on the Pakoda formula taken across to China by the laughing Buddha and reimported. Chinese eat fried lizards, snakes, chicken and other meat. Gobi has to do with Gobi desert -actually Manchuria and Mongolia. It has large quantities of garlic added because it was used as a means of keeping men and women apart by stench means and achieving population control. The main reason is that in Gobi desert, there was a shortage of snakes and lizards and they could not feed too many mouths.
I hope you are satisfied. I will now go and have coffee.
Yours
Sachi
PS: we are going every week for a few sessions of Bonda, dosa etc. in Basavanagudi or Malleshwaram. We want to nourish our cultural roots.
Today we have bought VIP passes in National College Ganesha Utsava where Ilayaraja is performing to live orchestra for the first time in decades. Catering is by Adigas. Before that we will go to Gayana Samaja Ramakrishnan Murthy vocal. A promising vocalist and excellent Bajjis in the canteen.

How backward is Indiranagar

My son, who has taken forward all family traditions including a love for Bajjis and Bondas, has settled down in the more cultured parts of Bangalore like Jayanagar. And he just sent me this Google Map of all the Bajji Bonda joints in our lovely city. What do you notice? The place where I live and breathe, Indiranagar, is singularly backward in this aspect. It is so gut-wrenching that I am at a loss for words. A predicament that you can spot on someone's face when he has not enjoyed Bondas or Bajjis for months on end.

I have always held that except Basavanagudi and Malleshwaram, all other localities of Bangalore are culturally in the Iron Age. You may find Kabab corners, Karnataka Pork stalls, Tamil magazine vendors, but you will not find the symbols of famous Mysore culture like:
1. Decent temples of Ganesha and Hanuman hosting Ramanavami festivals.
2. Vendors selling Mysore Mallige, Betel Leaf, Banana Leaf and Elakki Bale.
3. Condiment stores selling congress kadalekalu, hurigalu, Kodubale.
4. Iyengar Bakery and Coffee Works.
5. Bajji and Bonda stalls.

The result? People who live in these backward parts make do with uncultured ingredients of life and pass off as fake Bangaloreans. I have been banished to that state!!! I, born and brought up in Basavanagudi! Bah!!

There is no hope for the likes of me. Unless I visit the heavenly places mapped above and replenish my cultural roots frequently.

PS: Jayanagar, Hanumanthanagar and Rajajinagar came up as lower middle class extensions of Basavanagudi and Malleshwaram in '50s and '60s. Now they flaunt bungalows and emblems of culture too.



- Posted using BlogPress from my iPad

FDI in multi-brand retail- what it means to me

This is the picture from the Big Bazaar website. The couple of times I went to Big Bazaar, I found lots of cheap products, tired and bored and ill-informed sales attendants. Not very different elsewhere, be it Westside, Lifestyle, Shoppers Stop, etc. etc.

I am amazed so many people are clamouring for FDI in multi-brand retail. Remember Indian economy is over 5000 years old with 90% of products made in India for Indian consumers. It is a robust ecosystem with whatever inequities and issues, but with many many known players in the chain. When I bring in a big honcho like Walmart, they will sell more Indian products for more Indian consumers at everyday low prices. SO WHAT?

What will change? Product? Most unlikely. Quality? Unlikely unless I pay a premium. And 5000 year-old wisdom= Indians don't pay a premium, unless it is for gold. Availability? Won't change much in most cities with already many mega malls-and do you think they will set up shop in small towns and villages? Be different from those kirana shops? Service? Same old bored+tired+Ill-informed sales staff. The fact that a BIG BRAND like Walmart shines in neon in front of the store? I don't care. The fact that all the profits will go to some honcho in US or Europe? I don't think we need to be thrilled about it.

What has changed since Rajasthani princes sold their soul to marauding Moslem invaders? Poornayya sold his king to East India Company? We encouraged all young men and women to go and work the grind abroad for a better life? We killed Indian products for Chinese plugs, pencils and nylon sarees? Why do we think we cannot have home-grown excellence? 

By saying that FDI in multi brand retail is a must, we are saying that India lacks businessmen with money, or consumer insight or management capability. When we produce thousands of talented managers who are lapped up at huge salaries abroad. And when for every rupee tracked by the system, there are two rupees tucked away in a black corner somewhere. When we have Tatas, Birlas, Mittals, and Ambanis to show off for their money-making acumen.

I wish someone with the credibility and reach and commitment of a Maruti moves into large scale distribution in retail. But then, they face their own problems.

Come on. From Marco Polo to Manchester businessmen, everyone knows that India can manage its retail by itself. No need for FDI. Thank you.



- Posted using BlogPress from my iPad

The great Indian Civic Sense

Mirror Mirror on the Wall

The Grimm's fairy tale is about the wicked queen who asked the magical mirror who was the fairest. When she got a thumbs down for herself and thumbs up for Snow White, she was livid and wanted to get rid of her competition. Thus Snow White had to be in a glass coffin after eating the poisoned apple and was cared for by seven dwarfs. That is until Prince Charming arrived to revive her.

To ask a mirror, a frank and impartial companion, about one's beauty (read self-worth) was the old way, as shown in the photo above of the 12th Century stone sculpture in Belur. And today, we have Facebook.

Facebook is a masterpiece. Its several million members are ample proof of our continuing need for the magical mirror.

We hear reports of psychologists stating that Facebook addiction is an indication of poor self-esteem. We also hear of suicides and such when someone says Talaq Talaq Talaq or such to the significant other on Facebook. The Like button is so key today for all of us. We have created a far more complex, multifaceted mirror to ask the question of the world about ourselves.

When do I stop needing this external assurance about my own worth? My own place under the sun? Isn't the fact that I exist enough?

- Posted using BlogPress from my iPad

A Balanced Score Card

It's one year and more since I relocated from Singapore, resigning from a job with GE APAC and taking up a part time assignment with GE again in Bengaluru, so I can be with my folks. I also have some other interesting assignments.

So thought I will publish a balanced score card. here goes:




(total out of a possible maximum of 1750)

Why astrology is a joke.

I can prove to you mathematically that astrology is a joke.


There are 12 houses, and let us assume your astrologer predicts an outcome with only 1 in 12 error margin (NO ASTROLOGER STICKS HIS NECK OUT 100%). So let us say this is 85%. The rest of 15% is understandable as things beyond man's understanding.

That means he is predicting an outcome based on your chart with 85% probability of accuracy. that looks pretty good, right?

Sadly, NO. Because:

You surely have heard of 7 degrees of connection...that means EVERYONE who influences your life is only 1, 2, or at most 7 layers of contact away.

That means your life outcome depends not just on you, but on the actions of SEVEN levels.

Even assuming at each level the astrologer predicts with the same confidence of 85%, that means, my friend, that actually the outcome is equal to only (0.85)^7.

Now assume there are at least three people in your immediate circle who can influence an event. Hence the probability further reduces to 1/3 x (0.85)^7.

You know how much that is? 11%.

Hence your astrologer's being able to predict an outcome is only as good as what he does not know, or factors beyond man's understanding.

Hence astrology is BUNKUM!


- Posted using BlogPress from my iPad

Multitasking info graphic

Please Include Attribution to OnlineCollege.org With This Graphic




- Posted using BlogPress from my iPad

Multi-taskers or scatter-brains

Detailed Infographic

High-Res Image

Bhagavan Krishna says in the Gita: those who meditate on me with undivided mind will always be taken care of by me. In other words he says 'don't multitask'.

The story goes that Ramakrishna chided Rani Rasmani when she was once sitting in prayer in the temple. He slapped her and said she should not be thinking of her business affairs when sitting in prayer.

Alas, we are today in the fragmented world of multitasking. The chart today in Economic Times lists the perils of Multitasking.

There is another article on iOS vs. Android, and how Android scores in multitasking!

- Posted using BlogPress from my iPad

How I switched to an Android Phone

I have been using an iPhone since 2007, when I gifted myself on Diwali day a jail-broken one in Sydney Australia, inspired by its being written up as the gadget of the year in Time magazine.

I have used smart phones since 2002. P800 then P910 from Sony Ericsson. I am a bit crazy to spend so much on a phone, but actually it has become a bit of a companion as I google, listen to music and write blogs and snap and edit and upload photos/videos, on the move.

I have lost one P910 and two iPhones in public places to theft. My dear GE colleagues pooled up money to gift me a replacement last year as they knew how dejected I was after losing one in a taxi.

Having paid up tons of money to buy these phones and run up huge 2G/3G/Roaming bills with Airtel, I decided last week to deconstruct my life and switch to a non-3G phone, since I already have a 64 GB 3G iPad 3. So which phone should replace my iPhone 4?

1. It should be a much easier-to-use phone than iPhone.
2. It must be slimmer and longer to hold in the hand during calls.
3. It should have a large, nice display of text and pics and menus.
4. It should have a great camera.
5. It should have some music storage.
6. It should have a good battery charge for a full day's calls.
7. It WILL not have 320 apps like my iPhone had.

I settled for the HTC One V Android 4.0 after some hectic shopping around in Phoenix Mall, Reliance Digital, Sahara Mall Gurgaon and a small specialist phone shop run by Mr Syal. I bought one including a 8 GB SD card and hard back cover for Rs 17,900 paid (by Visa), from Mr Syal.

Here is a photo I just took of an old Krishna picturework hanging on the wall (of my mother's needlework):

Just to let you know how crazy I am, don't ask me what I will do with my iPhone 4. Something good I am sure.

Satyamev Jayate - how we've killed our rivers

At the end of another powerful episode of Satyamev Jayate, they featured this lovely song.

Lit

Watch all the episodes on You Tube... Each episode is an eye-opener and lasts about an hour, ending with a song.

Conceived and presented as a reality show by Aamir Khan, they are taking on issues like Untouchability and Dowry, intractable issues for centuries and impacting a billion plus people.

- Posted using BlogPress from my iPad

The Mysore Palace- Indo-sarasenic Excellence

Walk through Mysore Palace

I quote from a website devoted to Henry Irwin, who designed the Mysore Palace: Indo-saracenic architecture represents a synthesis of Muslim designs and Indian materials developed by British architects in India during the late nineteenth and early twentieth centuries. The hybrid combined diverse architectural elements of Hindu and Mughal with Gothic cusped arches, domes, spires, tracery, minarets and stained glass, in a wonderful, almost playful manner.
Robert Fellowes Chisholm(1840 - 1915), Henry Irwin and Gilbert Scott were among the leading practitioners of the time. Chisholm, one of the most gifted English architects working in India and a vehement supporter of Indian craftsmen, stated:

"the men who will actually leave the impress of their hands on the material. These men have an art language of their own, a language which you can recognise but cannot thoroughly understand. For this reason an architect practising in India should unhesitatingly select to practice in the native styles of art - indeed the natural art-expression of the men is the only art to be obtained in the country."

Chisholm was the Principal of the School of Industrial Art at Madras, and won the commision for designing the Presidency College and the University Senate House.

- Posted using BlogPress from my iPhone

Suryanamaskar Surprise in New Delhi Airport

A great sculpture at IGI T3! Watch it on You Tube

"You told us to care and share"

- Posted using BlogPress from my iPad

Vatapi Ganapati

This Ganesha image is an ivory painting roughly 3 inches tall, done by a master craftsman in Udaipur with vegetable dyes and brushes some of which are as thin as a camel hair. I purchased this in 2006 after I spoke with the craftsman's student, who told me he wouldn't perhaps reach his master's level ever.

The place Vatapi is the heritage site of Badami today. Wikipedia states that the name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agasthya who got rid of the demons Vatapi and Ilvala. Badami (=Vatapi) was the capital of the Early Chalukyas who ruled muchof Karnataka and Andhra between the 6th and 8th centuries. "The Hamsadhwani song Vatapi Ganapatim Bhaje by the composer Mutthuswamy Deekshitar is in praise of the Vatapi Ganapati which is now in Tiruchenkaatankudi near Tanjavur. In 7thcentury, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Sirutondar (General of Pallavas)."

At Ganesha Talkies in Mysore, where I saw many splendid English movies in '60s, the curtains used to go up with the song Vatapi sung by Ghantasala. Vatapi Ganapatim is a common enough starter song in many concerts, especially instrumental concerts. Sometimes we fail to appreciate the true depth and worth of things just because we see them or hear them often. The more I think about it, the more inspiring is this masterpiece of a composition by Muthuswami Dikshitar. The meaning of this song is available in this very informative website.

Dikshitar has given a beautiful description of the deity and its mythical and mystical dimensions. To me the Ganesha concept is nottrivial... the elephant-headed God represents all that is thoughtful,powerful, benign and multi-dimensional without any mythological excesses. It also somehow deifies our physical existence, and the twinprinciples Bhukti+Mukti. Ganesha is joyous, gracious, auspicious and grand, all at the same time.

The raga Hamsadhwani seems to be the incarnation of Ganesha.. The raga suits the worship of Ganesha so well. Like Ganesha, it has strong and simple contours, and has instant appeal. Its melodic appeal crosses all cultural borders. As I visualize the notes of Hamsadhwani, the fundamental Sa  provides a strong and stable melodic base at the Muladhara. The Ri defines grace, Ga defines majesty, Pa represents vocalised prayer, Ni represents meditation and the higher Sa the union with the Infinite. Just think of the attributes of Ganesha...exactly the same!

It seems appropriate to give you a beautiful rendering of this song by Vidwan Lalgudi Jayaraman ( thanks to my rasikottama friend).