The footprints of our history are imprinted by mahatmas who identified that what defines India, and indeed all of humanity, is not the individual differences but the collective oneness. As we celebrate Gandhi Jayanti, we are reminded of his thought - I believe in the absolute oneness of God and, therefore, of humanity Swami Vivekananda, Kabir Das and many others have propounded the same philosophy in their teachings that oneness was the secret of everything.
In this edition of Tarang, curated with utmost care and love, we spotlight a humble and inspiring Thangka painter cum teacher who keeps the Wheel of Life turning. We reminisce on the art of disagreement that is so acutely missed in today's fractured world Keeping with the festive season spirit, we bring you Bengal's joy of celebrating Durga Pujo.
For all connoisseurs of poetry, we present the first of a series on Indian Poesy that traces its origins in our culture. We also present Gandhiji's beliefs of the ultimate oneness of all humanity as reflected in his favourite Bhajans.
On the music front, we bring a viewpoint from a Hindustani music practitioner on what makes for a complete and true artiste. We dive deep into a Carnatic ragam and regale in its melody. And to top it all, we rejoice in the reverberations of our classical music on the distant shores of Atlantic Canada.
Tarang is your passport to time-travel through this history, our glorious past, and unravel the mysteries and the magic of the many beautiful art forms, life philosophies, and thoughts that have been distilled through generations to us As you read through this edition of Tarang, we wish you Bon Voyage on this journey of discovery!
A Hindustani Musician's observations on the aesthetic choices of artists
In conversation with one of India's finest Thangka painters.
A look at the Bhajans that inspired a man who promoted non-violence.
Overview of Indian Poets and Poetry - first in a three-part series.
A pentatonic raga adapted by musicians all around the world.
Ishan Singhal Ph.D Student in Cognitive Science. Football enthusiast. Amateur philosopher. ishansinghal@hotmail.com
Lakshmi Sanjanaa Bhavaraju MBA in Finance. Carnatic Singer and amateur Violinist. Introvert; exploring art to find my voice.
#OffTheGrid
Pushkar Lele
Hindustani Classical Vocalist, Researcher, Guru, Traveller, Foodie, Home Gardener, World Cinema Lover, Aesthete. http://www.pushkarlele.com
Satyameet Singh
Amateur Carnatic Violinist. Loves impact investments, good lyrics and cricket. MBA in Sustainability. instagram.com/bringbackinnocence/
Ayurvedic Doctor by profession, a Carnatic Singer by passion, reading and learning Kathakali music now. neelakantanjyothi69@gmail.com
Praneetha Durbhakula Paint.Pen.Technology.Music. Travel.Cook.Craft defines my world. #OfftheGrid
Ramya Mudumba Ph.D Student in Cognitive Science. Carnatic music student. Trekker. Poet. http://cloudsofthedusk wordpress com
Dr. TLN Swamy Doctor by profession. Flutist by passion with a zeal for penning and painting.
drtlnswamy@gmail com
Check page 27 to see how you can contribute to our next edition.
By Ishan Singhal
At some point or another, we have all wished that school taught us some life skills that we lack when it comes to the real world—paying taxes, how to manage and invest money, or how replacing/repair everyday things. I am sure you would have felt this way or heard someone else saying this at least once. “I wish school had taught me this.”
One life skill that school did not teach us that I wonder about is how to look at disagreements or even how to disagree. I know this seems trivial right now, but in this article, I’ll try to make you think about the lost art of disagreeing. What happens when we don’t have these skills? Is there a way to learn them? And from where? Think back to a disagreement you had in school. Maybe someone sat on your favourite bench in class and refused to get up. What did you do? Rather, how were you taught to make sense of this disagreement? Most people either complained to a higher authority (class monitor or teacher) or ended up in a fight. The same pattern you’ll see repeating over and over in your life. Today, instead of fighting over your bench in class, you are arguing about a parking spot in your residential complex. Or arguing with your neighbour about noise, garbage disposal, or cleanliness.
We disagree with people around us every day on issues ranging from minor things like parking spaces to more significant problems like political preferences. But when faced with disagreements, what do we do? We either get a higher authority involved, or we fight We have learned no other way to handle it This leads to anger, confusion, and bitterness. Moreover, involving a third party creates more work or nuisance than necessary. Creating an even greater distance between the people who were already disagreeing. This basic principle holds for anything, from fighting siblings calling on their father to the numerous cases in the Supreme Court. We cannot seem to be able to handle disagreements ourselves.
We live in a world today where we have more interactions with people than we have ever had in human history. Not just the number of people we end up interacting with but also the number of our interactions is uncountable. And with more interactions come more disagreements. And with more disagreements, more distance, and more frustration. How do we learn to disagree? Here, we take a look back at when disagreements were a part of education Some forgotten lores from Indian philosophy.
"But when faced with disagreements, what do we do? We either get a higher authority involved or we fight. We have learned no other way to handle it."
Before we discuss specifics, it is important for me to state that this article is only a teaser. There is an immensely vast literature from various Indian philosophical schools that I cannot cover here. I hope to inspire in you a curiosity to follow the breadcrumbs I leave for you here. Across philosophical schools in India, three fundamental pillars of thought exist, which are supposed to teach us how to disagree with each other. For the sake of simplicity, I would ask you to apply it to the disagreement case of your childhood where a classmate of yours has taken your favourite seat.
The first one encourages a person to take a bigger picture view of the problem at hand. It urges individuals to see similarities between themselves and their environment, society, and community. It is built on the principle of Oneness, where there exists this belief that there is something common between everything in this universe. From rocks, plants, neighbours, rivers, societies, and ethnic groups to nations. Everything has something in common with you. Thus, if there is a disagreement between you and another, this principle first asks you to see yourself in the other This is not to be mistaken as empathy, where one tries to see themselves in others. The idea here is that there is actually something real that is similar to everything that exists. This advice is perhaps best captured in the Isa Upanishad read as:
Translation : One who perceives all the beings
self and own self
all the
"Yastu sarvani bhutani aatmanyebanupashyati Sarvabhuteshu chatmanam tatona vijugupsate"
in his own
in
beings does not hate anyone anymore.
Moving to a second important principle, we look at the focus on duties. In comparison to Western philosophy, Indian philosophy has been less focused on individuals but rather on how individuals interact with societies. This is apparent in Western ideas focusing on ‘rights’ vs. Indian ideas focusing on ‘duties’. The Indian concept of dharma encourages one to resolve conflicts based on duties. Dharma urges you first to consider whether the disagreement stems from an unfulfilled ‘right’ vs. an unfulfilled duty. For the example of your seat being taken, what ownership do you have over a bench in class in the first place? More importantly, does your duty as a student allow you to spend time disagreeing on seating space? Dharma is again a common concept across Indian philosophies with a different version in each, a short quote to capture its advice is given in the Mimasa school, which reads:
Translation : Our duty is primary and abiding.
For the last one, we look at a combination of advice from the Nyaya and Yoga schools of Indian philosophy. These related ideas call for weighing multiple pieces of evidence for a meaningful resolution or search for truth. Nyaya opines that we cannot conclude disagreement without first exhausting all possible alternatives to the present situation. If someone is sitting in your seat, and you do not like it, first think about all possible reasons why they did so. Maybe they like the seat as much as you do, or they did not know you preferred the seat in the first place. Alternatively, Yoga requests you to consider the true value of the disagreement. If the disagreement is about “your” seat being taken, is there a meaningful reality in which a seat in a common classroom can be “yours” to begin with? These two quotes from Nyaya and Yoga schools of Indian philosophy capture these principles.
Translation : Total confusion follows from words having no (corresponding) reality.
In writing this article, my intention was twofold. One, I wanted the reader to consider how they are dealing with disagreements they face in their lives and how they are dealing with them. And two, to make the readers visit the teachings of Indian philosophical schools that spent considerable time trying to make us lead better lives. There was a time when education involved these teachings. And I hope there is a time like that again.
Jal Sanjhi is the name of this unique art style, which involves employing finely cut stencils loaded with colourful powders to create drawings on water. Traditionally, this art has portrayed Indian epics, particularly those involving Lord Krishna.
By Satyameet Singh
St. John's is a hilly city that is famous for its colourful homes and being the easternmost city in North America.
In May 2022, my wife and I decided to spend our summer in a new province in Canada, and thanks to a flexible remote work policy, we moved to St. John's, Newfoundland, and Labrador for July and August. While we hoped to be able to see whales and experience life in a windswept province shaped by fishing, colourful housing, and Irish and Celtic musicians, I least expected to hear and be genuinely inspired by Indian Classical music.
Mr. Sankaran began with a brief history of how he came to Canada. Along with John Higgins - an American musician and scholar known for his Carnatic music skills, he founded the Indian Music Studies program at York University in Toronto in 1971. Toronto had been home since then, and while he had retired from academic life, anyone could see that his zest for music was nowhere close to retirement. What followed was a 90-minute dialogue on the instrument's intricacies, exploring konnakols and different talas (beat cycles) in Carnatic Music, including a 128beat tala.
It was fascinating to see him show how musicians use their bodies to remember such long rhythmic cycles and how he can visualize different talas taking on physical shapes. Reflecting now, I find the ability of musicians to visualize rhythm into shapes or forms and musical notes into colours as genuinely wondrous. I am sure science has a way to put an explanation to such abilities, but such descriptions, while expanding our ability to understand, do little viscerally and experientially and THANK GOD for that.
Sitting in the row in front of me was an Indian-looking couple who asked him questions about Konakkols and how the curriculum for learning Mridangam was structured. During their discussion, I understood that this couple was the dynamic duo of a tabla player and a Kathak dancer. As fellow participants in the Sound Symposium, they were fascinated by the rhythmic nuances of Carnatic music, and I wish I could better appreciate their line of curiosity. I did not know that I would admire their performance a few days later.
On Sunday, we bought tickets for the evening concert, and it was here that the dynamic duo that I had heard ask questions to Mr. Sankaran yesterday was to perform. The two-part concert was kickstarted by Beverly Johnston, a Marimba artist and an adjunct professor at the University of Toronto. Commanding a significant stage presence Ms. Johnston gave an experimental performance aptly titled ‘Finding Her Voice.’ I remember how she interspersed an inner monologue (voice and audio playback) with the live playing of the Marimba. The sound from the Marimba was new and enjoyable, and her virtuosity was evident.
The audience could feel her navigate through inner angst, and her performance ended on a high, where she destroyed some of the props as part of the act and returned to a soothing soundscape. While I admired her boldness, I was bemused by the vastness of the human experience and how it shapes artistic expression. It became a recurring theme during the festival for me.
After a 10-minute break, the second half of the concert opened with an introduction by Vineet Vyas, a tabla player originally from Nova Scotia. He had learned music from the Varanasi Gharana and was passionate and humble while introducing his playing style. Accompanied by a young budding guitarist –Dwit Hathi, and a talented and highly experienced pianist with a calming stage presence – Bill Brennan, the trio played for half an hour to a room full of an audience whom I felt was enjoying the cultural tourism that Indian musicians promote so well.
He played the teen taal with great vigour, and the music was rich and magnificent. The sound of the piercing tabla was complimented by a meditative base melody of guitar and piano, and the music created felt like the kind of global music which is inclusive and inviting. The trio built a natural crescendo which beautifully enhanced the riveting entrance by Bageshree Vaze.
Ms. Vaze, a trained Kathak dancer, was magnificent. A highlight for me, besides her dance, was her incredible adeptness in engaging the audience.
Throughout the performance, she spoke about the art form in small bits and rapidly followed it with beautiful dance moves. Her chakkars (spins/turns) were, to my non-specialist eyes, spontaneous combustion of energy amplified by the sounds of the ghungroo (metallic bells strung together to form a musical anklet) and uplifted by the tabla.
It was not a moment of dormant patriotism where I, as an Indian living outside my country, felt pride for the art forms birthed within my country. It was instead a matter of uplifting pride to see an artist take the best from India and showcase it globally and, most excitingly, be able to communicate effectively and display the intricate beauty of these soulful art forms.
The sublime base melody was kept simple to support the layered and complex Tabla-Kathak performance. An entertaining 45 minutes later – the concert ended, and the artists thanked the attendees and paid their gratitude to Mr. Trichy Sankaran, who was also in attendance. I am not sure, but along with giving Mr. Sankaran the highest of compliments, they also sought his blessings by touching his feet, which I am sure left many in the audience wondering about Indian culture.
I had no idea I would like these concerts so much that I would book our tickets for the Monday night concert. It was time to hear Mr. Sankaran’s student – Curtis Andrews, play a concert. Despite being a Monday night, the people of St. John’s showed up and filled out all the seats. The concert titled ‘Offerings of Curtis Andrews’ had Trichy Sankaran on the Mridangam, Curtis Andrews on the drums, Jared Burrows on the guitar, and Patrick Boyle on the trumpet.
Curtis came across as a musician and student who had bridged the cultural gap and gave a heartfelt introduction to his mentor Mr. Sankaran who happened to be celebrating his 80th birthday. The music that followed felt like a gentle giant who was walking at dusk, and this giant was equally celebratory and contemplative. It was solemn and peppy at the same time. The pairing of the trumpet with the mridangam supported by the subtle cymbals and well-laid-out guitar melody made me feel warm, solid, and at ease. I remember smiling.
On Tuesday afternoon, was a workshop by Ms. Vaze and Mr. Vyas. As an older Carnatic music student who grew up in Delhi, I had struggled with Tala and felt that my understanding of rhythm needed more work.
I signed up for the workshop hoping to deepen my rhythmic sensibilities, and after carving out 90 minutes from my workday, I made it just in time. Mr. Vyas demonstrated with excellent clarity some of the different rhythmic cycles in Hindustani music and the various tempos that musicians play with.
When it came to Ms. Vaze’s demonstration, she asked us to remove our shoes and come to the stage to experience Kathak for ourselves. There were two men, including myself, in the mix. We both looked at ourselves and decided to go for it.
Beginning with a Vandana (a prayer to the divine almighty), we tried different hand postures while planting our feet firmly into the ground and keeping as straight a spine as possible. At one point, I felt rather incapable and counted how many fingers were in my right hand. My two left while remained as two left feet; I felt admiration for the first time for Indian dancers. The posture, the balance, and the strong and precise hand and foot movements were powerful and remarkable. The chakkars (spins/turns) that are a core feature of Kathak were fun to try and dizzying. We all shared a smile, and I still could not believe I had tried it.
The evening concert on Tuesday was headlined by the percussion ensemble Nexus, who were performing the World premiere of ‘Red River,’ a 5-movement composition by Russel Hartenberger. Mr. Hartenberger is Professor Emeritus and former Dean of the Faculty of Music, University of Toronto. I had the opportunity to attend his workshop on rhythmic similarities between different musical systems. While I could not grasp 95% of what he shared in the workshop, I was fascinated by his scholarly personality and was keen to hear his composition’s premier.
Red River was inspired by the sounds of the river that he grew up next to and was performed by 12 percussionists and marimba players. The cascading sounds of flowing water were so well built up, so well captured by the artists, that for many moments in that packed hall, I felt that the walls would come down with gushing water from all ends. It was one of the most prominent sounds I had ever experienced, and I hope to hear him again.
Looking back, I have renewed faith and strongly feel that there is space for Indian Arts to open their arms to external influences and lead. I challenge our artists to look past our notions of purity and what is sacrilegious and co-create as all artists that I heard and found good had a sound that was sincere and earned with hard work. Our arts can spark imagination beyond today's intelligent and rational sensibilities, and I feel global musicians love collaborating with Indian musicians for this reason.
Narayan wakes in me a spring of gratitude. Without him, I could never have known what it is like to be Indian.
The South Western Railway has restored the Arasaalu railway station in Shivamogga district of Karnataka, which featured as the fictional Malgudi railway station in the popular television serial Malgudi Days.
who crafted our heritage
In November 2019, his book Swami and Friends was chosen as one of BBC's 100 Novels That Shaped Our World. A fitting recognition given that generations have grown up in the fictional streets of Malgudi but have never grown out of identifying with the adventures, and innocence, of Swami and his friends.
s t e n
a within Malgudi
By Praneetha Durbhakula
Special Thanks @Sweta Basu
"You know what's more annoying than a Bengali gushing about the food they are going to eat? It's a Bengali gushing about the food they are going to eat during Durga Puja. Good food is what fuels throngs of Bengalis throughout these seven days of endless Pandal hopping, adda, and some more gastronomic adventures People in Europe have summer romances, and Bengalis have Pujo romances that start with eye contact at the Pandal and end with a friend consoling one with some rosogolla on Bijoya Dashami.
Bengalis don't take their religion half as seriously as their food, and hence our relationship with our goddess is not one fraught with fear but with tender love In Bengal, the goddess arrives with her four children in tow- she's here for a vacation, and she's here to allow us to take the vacation that (almost) all Bengalis plan their year around. She's a daughter, she's a benevolent mother, she's a friend, and once she arrives, all we can say is- 'Maa eshecchen' (Maa has arrived)."
Sweta Basu, kolkata
"Mahalaya" marks the beginning of the festival. They believe that on this day, Maa Durga with her clan (Maa Saraswathi, Maa Lakshmi, Ganesha and Karthikeya) come to the earth from Mount Kailash to witness the celebrations. Interestingly, rituals are similar to welcoming their newlywed daughter on her first visit back to her parent's home. It is believed that Shakthi (Maa Durga) took the form of "Kali" to destroy Mahishasura after 10 days of the war as all the gods and goddess provided their potent weapons to Maa Kali to finish her task.
Pandals are inaugurated with different themes all over the city. The dazzling lights and lamps, grand stages, a wide variety of street food, famous Dhak sound, bhog – a traditional dish served as prasad in pandals, Dhununchi dance and women in their traditional Laal-paar-saada sarees (White and crimson bordered) and covered in red vermillion with joy on their faces are the main highlights of the festival.
"Bengalis wait in line for hours to see pandals that can look anything like the Burj Khalifa to the Vatican City. Some pandals have concept art that can rival ones kept at MOMA. Even the Durga idols get a makeover to fit the theme. We are purists as far as the aloo in our biriyani is concerned, but not about our religion. This festival is beyond all that- it's about art, it's about togetherness, it's about homecoming."
Sweta Basu, kolkata
It is the love and devotion of “Kumortuli” (Kumor-Potter Tuli- locality) legacy of idol-making over 300 years that pours more than the art of mixing sand and clay in making the supreme form of appearance to ward off any evil. The main components include bamboo, straws, husk and Puniya mati (a mix of mud from the bangs of the holy river Ganga, cow dung, cow urine and mud from the brothel, also called Nishiddho pallis). The wooden frame that forms the base for the idols is worshipped, and the process of making idols begins around July, considered “Paata Puja”. The final ritual is called Chokku Daan, when artisans paint the eyes of Maa Durga on Mahalaya.
SHASTI(6th Day) :
On the 6th day of the Festival, people welcome the Goddess with Kokum Leaves, and she is worshipped as Katyayani.
SAPTAMI(7th Day):
On this day, “Kalparamba” is done, i.e., people take the Sankalp (a resolution to perform pujas and practices for the coming
days), followed by Navpatrika puja and start Maa Durga Puja, which includes praying to various deities, including Kartikeya, Saraswathi, Lakshmi, and Lion (the vahana).
ASTAMI & NAVAMI (8th and 9th Day):
The last 24 Minutes of Ashtami and the First 24 minutes of Navami are considered “SONDHI ” In this puja, Devi is worshipped as the Chandi avatar, where 108 lamps are lit as Sondhi Aarthi. People clap and dance to Dhak beats, followed by distributing the Bhog. Navami proceeds with homa and ends with Aarthi along with DhunuchiNaach ( Bengali incense burner used for ritualized worship dance).
BIJOYA DASHAMI (10th day):
The day is considered victorious; on this day, Devi begins her journey back to Kailash. “Sindoor Khela” is the main highlight of the day, where Married women offer farewell with betel leaf, sweets, and vermillion to the deli and apply sindoor to each other.
Credit: Monojit Mondal, Nat Geo Traveller India
"Irrespective of one's paycheque, Bengalis throng the roads of their city, town, and village to indulge in merrymaking. And when all is said and done, when the fairy lights are removed from the streets, when the smoke and aroma of the 'dhunuchis' subside, and the goddess has become one with the water after bisarjan- even though hearts get heavy, we hold on to hope by reminding ourselves, 'Ashchhe bochhor abar hobey' (We will do it all again, the next year)."
Sweta Basu, Kolkata
Credit: Gaganendranath Tagore, Image Source
This land of ours, Bharat, is witness to innumerable architectural and sculptural wonders that have assimilated diverse influences to create beautiful spaces of high aesthetic value. Aesthetics has been an essential element for our artists and creators not only in their art but also in other aspects of their personal lives. Even ordinary objects for day-to-day use were artistically and aesthetically made without compromising their utility.
However, I have wondered if aesthetics has somewhat become a low-priority area for us over the years. While many of the tangible heritage monuments and objects still live on, this intangible sense of aesthetics seems to have almost been wiped off the psyche of most middleclass Indians. Don’t musicians think beyond their riyaaz, public performances,
Why is that so? Aren’t we one of the most ancient and spiritually advanced civilizations? Didn’t we possess an innate sense of aesthetics? Where has that sense gone today?
Being a musician myself, I was hoping that the sense of aesthetics would thrive within every musician's home, workspace and community in general. After all, an artiste's inner urge is bound to inspire him or her to capture beauty wherever they find it Also, if it is so beautifully expressed in their own musical presentations, be in singing or playing an instrument, then it would automatically find expression in their houses, clothes and general tastes and choices in life. Right? Sadly in my experience, this is not true. There are, of-course notable exceptions to it, but a general overview paints a sorry picture. Not every musician is an artiste!
commercial engagements, marketing, promotions and PR? Were musicians always this way? Is aesthetic living too much of a luxury that musicians of humble backgrounds cannot afford? Can’t one inhabit an aesthetic space, literally and figuratively, without making much investment in terms of money? These and several such questions crowd my mind.
What is it that differentiates a musician from a true artiste? Why is the sense of proportion, balance, colour, texture, arrangement and design that is so evident in their musical expressions seem lacking in their overall manner of living? If dancers, painters, sculptors, architects, and designers live such tasteful lives, why don't musicians? Why are many musicians' homes unable to reflect their inner beauty and seem to be devoid of any taste? Isn't beauty in all aspects
Hangal Source - Wikipedia
of their life a necessity for musicians? Can aesthetics be taught?
However, there seems to be some hope as not all of this aesthetic sense is gone, not for everyone and not everywhere! Something reassures me that this sense is still alive at some level and is making lives and living spaces not just liveable but aesthetically beautiful. And I believe each one of us can live aesthetically – all it takes is vision and the interest to do so.
GangubaiWhat defines a true artiste?
Thankfully, most musicians who have influenced me and with whom I came in direct or indirect contact were not merely musicians but true artists. An artist is one who, in my opinion, looks at art as a comprehensive natural expression of life, although he or she may be a practitioner and master of only a certain kind of art. Such a person sees the interconnectedness of all arts, has respect for all artistic expressions and finds inspiration in diverse sources Such individuals are extremely curious, well read, have diverse interests, interact and connect with different art and artists, and are many-a-times able to articulate their artistic vision and communicate with people from diverse fields
and backgrounds using their vocabulary and concepts from diverse art forms Such a large canvas enriches them with varied experiences, which eventually reflect in their creation and enlivens their music. While it is extremely important for musicians to spend a good amount of time in dedicated sangeet ‘sadhana’, it is equally important to occasionally interact with its immediately neighbouring art forms like literature, dance, theatre, film, fine arts, sculpture, photography and architecture. Stimuli and inspirations can come from all corners, and a sensitive artiste is able to latch on, transform or apply them in the art form that he is proficient in.
A jeweller friend once took Pt. Kumar Gandharva to show some of the jewellery designs that he had created Looking at some fine examples of exquisite bangles, Kumar ji remarked, “Now I know exactly what the bandish – ‘Kanganuwa mora ata hi amola’ in Raga Kedar wants to say and how it is to be sung!” Travel experiences, observations of trees, animals and Nature, visiting temples, museums, and several such life experiences inspired him to compose new bandish-s/raga-s
Many of his contemporaries like Pt. Bhimsen Joshi, Dr. Vasantrao Deshpande, P L Deshpande and several other artists of that generation and earlier were not just singers but true artists.
Kumar Gandharva Source - Wikipedia
Can one sing a thumri/ghazal without having any first-hand experience of love and heartbreak? Can one sing a Dhrupad/Bhajan or piece of devotional poetry without having any spiritual experience? Can one explore the subtleties and nuances of a raga without feeling its raga-ness? Can one explore the expanse between two swars without first listening to the sound of silence in Nature? Can one reach the center of a note without experiencing stillness without and within? It sure is possible to be technically 'sound' and be able to present these forms in perfect sur-taal. But the soulful expression can come, in my humble opinion, only from some real or surreal experience, no matter how faint and inconsequential it may seem.
The impulse to seek beauty, however, cannot be forced upon anyone. It has to come from within and in an organic manner. An inquisitive
mind, an irrepressible urge to express felt emotions and a lust for life differentiate an artiste from a mere singer. Isn't living life voraciously the outermost limit of 'riyaaz'? A singer can delve into the depths of grammar, practice and polish his skills for thousands of hours and engage in analytical discussions. But the real 'expression' and passion in his singing can only be felt if he has led an artistic life full of rich experiences, observations and wise understandings.
Evolving as an artist, I believe, will also evolve the individual as an aesthete. How can one be refined in one aspect of life without it permeating into every aspect of one's living? As one develops as a musician or an artist, it cannot help but manifest itself into how they live and seek beauty and harmony in their surroundings and in nature, eventually transcending them into the divine realm!
In conversation with one of India's finest Thangka painters:
3/4th view of a Buddhist mandala by Mr. Wangchuk. Padma Shri
It was by a stroke of luck that we discovered about Thangka paintings and about Mr Khandu Wangchuk We learned more about him through the Government of India website, where his name was on the list of recipients awarded the Padma Shri. After a few email exchanges, we scheduled an interview for a Saturday morning and got into research mode.
Armed with a set of questions, we started the online call a little earlier to go over the finer details of the interview As we were getting ready, 15 minutes before the interview was to commence, he showed up. His smile put us almost instantaneously at ease. In spite of a language barrier, within a few minutes of the interview, we all were deeply involved with the story of a human we knew so little about.
What made you take up Thangka painting? Can you tell us about your learning process?
In school, I enjoyed painting. My father was a monk who saw my growing interest in painting and told me about the importance of Thangka paintings. He said the art form is of great significance and to learn it well. He introduced me to a wonderful teacher who took me under his wing. With the support of many teachers and Llama's, I continued to learn properly and paint and ended up receiving the national award.
With the national award came offers from abroad to move and paint there. My mother asked that no matter how many offers I got, I should stay in India, for I had received a national award here. She asked me to work hard and continue improving my understanding of this art and offer it to my country. I continued to hone my skills and kept at it and ended up receiving the Padma Shri.
"A thangka, variously spelt as thangka, tangka, thanka, or tanka, is a Tibetan Buddhist painting on cotton, silk appliqué, usually depicting a Buddhist deity, scene, or mandala. Thangkas are traditionally kept unframed and rolled up when not on display, mounted on a textile backing somewhat in the style of Chinese scroll paintings, with a further silk cover on the front " Source - here
Khandu Wangchuk ji working on the Dolma / 21 Green Tara paintingWhat is the significance of Thangka in general?
In accordance with the Buddhist philosophy, the Thangka has significance throughout the entire cycle of birth, death and rebirth. At the same time, it is expected to help in one's spiritual and Dharmic practice and brings peace to life. It is also believed in the Buddhist tradition that if a Thangka is commissioned within 21 days of the death of an individual, it impacts the individual's passage into after-life and his future births.
Each Thangka painting has a special significance and is created with care to the particular time and the stage of an individual's existence.
How has being a thangka painter helped you in your monastic life and understanding of the buddhist religion?
Thangka paintings are based on a deep study of the Buddhist scriptures. Every aspect of the Thangka - the colours, the position, the background, the foreground, the scenery, the dieties and every other aspect of the Thangka is derived from the scriptures. It is really a concise visualization of the scriptures and helps others understand and perceive the concepts in the scriptures from the Thangka as well.
What are some nuances of the Thangka art form that may not be understood by the current generation or by others?
There are many different Dharmic practices in Buddhism. Each Dharmic practice has its own visualization of Buddhism. There is a very strong connection between a Thangka painting and the scripture it depicts.
Today many young Thangka painters find it interesting to add or change the details from what the scriptures provide. These are really mistakes and not the correct visualizations of the scriptures and hence to be discouraged. This impacts not only their paintings but also their Dharmic practice.
As a magazine that covers Indian Culture, we find that we all have different definitions and understandings of it. What do you see as Indian Culture? How would you define Indian Culture to anyone? Is it possible to put it into words?
To me, the fact that all Dharma practitioners - Hindus, Muslims, Buddhists, everyone - can live harmoniously in India is reflective of our culture. I wish all other countries would also follow us and have a similar outlook and understanding so that the world can live in peace and harmony.
Mr. Wangchuk received the National award from India's President - Mr. Neelam Sanjiva Reddy. Image Source - here.Compassion is the most fundamental teaching of Buddhism. If anything can unite people, it is compassion. We should avoid provoking others and causing disharmony among people. Even people who do not believe in any cause or religion should follow this much to be compassionate.
This and not carrying any form of jealousy are crucial for us all live a happy and peaceful life. These are the fundamental teachings of Buddhism that I believe can help us all.
What do you believe is the primary purpose of Art in today's world? How do specialized art forms such as Thangka stay relevant in such changing times?
In the modern world, most people keep art for ambience and decoration Thangka art and its philosophy is really to bring peace. For those who may be religious, they may commission particular paintings that may bring peace to the entire family or for other good beliefs.
One thing that I have done is to include a mantra inside the paintings. Normally written in gold, these mantras also make the paintings more sacred. Some of these Thangka paintings are kept in shrines, too, for everyone's benefit
The first step is to create a canvas which I do myself. This is then coated with a special gum to make it ready for painting However, the original brushes were made from animal hairs I disapprove of killing them, so I make my own brushes by gathering and selecting the right hair that falls off my white pet cat
As to the painting itself, I consult with the monks to ensure that I start the painting on a good date after praising God At the start, I also pray that this Thangka will be helpful and bring peace to the person who has commissioned it People commission it for special reasons or occasions, such as a prayer event being conducted or the setting up of a Dharma centre
Different Thangka's take a different amount of time depending on various factors For a single-figure
What can Buddhism offer to a multi-faith and diverse country like India, including nonbelievers?
Compassion is the most fundamental teaching of Buddhism.
Thangka, time is dependent on fine shading and the gold designs it involves In the multi-figure Thangka, the time is heavily spent on fine-tuning the small figures
It has been my conscious and continuous effort to teach Thangka to the next generation so that we can preserve it for many future generations to come.
However, the problem today is that the younger generation is unwilling to commit to the process of learning, which requires significant time and hard work. Instead, students, today do not have the patience and are only studying for a brief period and are keener to sell whatever they can paint instead of staying the course and mastering the art form. This requires endurance and commitment.
And further, these students study only part of the tradition and create / commission Thangka paintings with mistakes. This is something that makes me very sad - that they cannot visualize the scriptures properly and end up creating paintings that do not bring out the true essence. Though they do so with economic compulsions, it leaves me worried about this. Paintings such as the Wheel of Life, which speak about Nirvana, need the care to avoid such mistakes. Such mistakes also continue to propagate without proper guidance from masters as students tend to copy from other erroneous paintings. This does not help the Dharmic practices.
It is very rare to find a good and committed student. In all these years, I have had very few such students. Out of them, one of my students has won the national award too, but such commitment and dedication to learning are very rare in the younger generation.
My advice to students is to be diligent in their practice and to read and interpret the text so as to avoid mistakes. To ensure they dedicate themselves fully to learning the art without mistakes.
That and to not copy.
Are art forms such as Thangka at risk of being lost to future generations? What can we do to help preserve them?
How do your balance your commercial interests as an artist against being true to the art form? Is there a trade-off to be made?
I should say that I am very poor in that aspect - appreciating the economics and commercializing the artwork. I am not money-minded if I can put it that way. Often I end up pricing my Thangkas lower than what it costs to create them. Thankfully my wife has been my pillar of support in managing these aspects of my life.
But as an artist, one also needs to understand the art's business / economic aspects. If one needs to have a stable life, one needs to have some idea about these aspects.
What drew you to wood carving, and do you feel your two interests fuel each other?
I found that what the Buddhists were designing and making was not very good; not very pleasing to the eye. It also did not reflect the Buddhist culture. The colour combinations and the designs were very sharp to the eye. I felt that I could design this better and hence took an interest in it and started designing.
However, I soon realized that I was not doing justice to my Thangka painting, and many commissioned pieces were getting delayed, and this affected me. So, I decided to focus only on my painting.
Do you like other art forms or painting styles, and if so, what kind appeal to you?
I appreciate all types of art forms. However, my upbringing and subsequent focus have been purely on Thangka. But I do appreciate all art forms.
Does art help shape artists' thoughts, character and societal outlook? What are your views on this?
What I really care about is that my paintings or my artwork should help others by bringing peace and happiness to them. On a personal front, my focus every day is that I should be happy and do things in a Dharmic way to ensure that my future births are also positively impacted. Doing the right dharma and doing it in a proper way is important. My focus is on art, and I believe art can help everyone in this direction.
As a Thangka painter, what are some things you have uncovered about spirituality?
For any spiritual practice or Nirvana, you need a good Guru or teacher who can guide you towards that path. This is true in Buddhism, and in other religions, too, I believe. It is most important to have a teacher who can ensure you are focused on the Dharmic path.
One thing I have come to understand is the power of prayer to repent for your sins or to keep one away from committing sins. It is important for one to pray for the sins they have committed and to ensure that they are happy in their future births as well.
The pig, rooster & snake in the hub of the wheel symbolize that the three poisons of ignorance, attachment and aversion give rise to positive and negative actions; these actions and their result are called karma.
The 2nd layer represents karma.
The 3rd represents the six realms of samsara. The 4th represents the twelve links of dependent origination.
The fierce figure holding the wheel represents impermanence. It is also Yama, the god of death. The moon above the wheel represents liberation from samsara or cyclic existence.
The Buddha pointing to the white circle indicates that liberation is possible.
Bhavachakra(Wheeloflife)paintingbyKhandu Wangchukji
What similarities do you find, if any, between practitioners of different spiritual practices? Like some go deep into music, dance, painting, and meditation. Do you see any similarities?
Compassion is eventually, I believe, the heart of all these different practices. People eventually want to help others and bring peace to others through their work - be it painting, music, dance or any other thing.
One should also be compassionate towards animals. In Buddhism, this is an important aspect, where one believes being compassionate towards animals helps them in their rebirth, as an animal is one of the realms of birth. Overall, being compassionate to all life is important, and I believe it is at the root of all spiritualities.
Can you share a contradiction in your values that took you long to resolve and any advice for young adults on how they can approach a contradiction?
I can't think of any specific contradictions in values per se. However, I have had several misfortunes, accidents and troubles in my life and in my interactions with people. If I have learnt anything from all of those, it is that one needs to have faith and strengthen the mind to overcome difficulties and carry on with their good work and their life.
Which painting do you like the most from your body of work? Can you tell us a bit about the story it shares?
I have several. But one that is most favourite is a Refugee Tree Thangka painting that I did in 1982, right after I won the national award. It is something that is close to my heart.
What does the Padma Shri award - and the other recognitions - mean to you, and what, if any, goals do you have for the future?
Every achievement and award is an excellent shot of enthusiasm and motivation to continue doing my work and help others and teach the art form. Though I am in my 70s, I still have a long way to go and have the energy. There are some very important paintings that are there in the scriptures but have not been commissioned yet or have incorrect visualizations that need to be corrected to provide the right perspective for future generations. For example - Rigzing Chokshing - and many others that I have to work on. These awards fuel more of that urge.
Also, these awards bring recognition to the Thangka art form and make everyone aware of it, its beauty and its value!
Mahatma Gandhi. A name so familiar, a face so commonplace in our country, but he was just not any man. Even for a layman who might not have read extensively about him, hearing his name imbibes a shared feeling that he did something monumental. To someone, it could fairly seem a thing of the past, so why remember him? What he did could be something in the past, but what he was, what he stood for, has remained evergreen for any generation to get a fresh perspective
He’s well-known for being a champion of non-violence, truthfulness, and equanimity. But more importantly, he’s remembered for his unfettered devotion to his principles and how to conduct one’s life in harmony with one’s beliefs.
Imagine being in his time when people’s blood boiled for vengeance against the wrong-doings of the oppressors. Yet, to be unflinching in his belief in nonviolence, to vigorously work towards the cause, and to amass and unite almost an entire country in this way is by no means a simple task. The strength of his will and a strong pursuit for truth no matter what had shaken empires so tough.
This was complemented immensely by the simplicity of his living, his kindness towards others, and his force of love towards all beings irrespectively. He believed that only love towards others could make ours a better world. He firmly believed in universalism, looking beyond just the country’s people he fought for.
“To believe in something, and not to live it, is dishonest.”
“If I want freedom for my country... I do not want that freedom in order that I, belonging to a nation which counts as one-fifth of the human race, may exploit any other race upon the earth or any single individual. If I want that freedom for my country, I would not be deserving of that freedom if I did not cherish and treasure the equal right of every other race, weak or strong, to the same freedom.” Mahatma Gandhi
The roots of such ardour for world beings could be glimpsed in the bhajans he loved. The lyrics overflow with feelings of oneness, dissolving Self into the Supreme, harmony that naturally exists if one knows how to perceive and experience it. One must look at it not as having a mere concept of unity but actually trying to experience it
“Ram Kaho Rehman Kaho Kou Kanha Kaho Mahadev Ri Parsanath kaho, kou Bramha, sakal bramha swayamev ri bhaajan bhed kahavat naanaa ek mruttka roop ri taise khand kalpanaropit aap akhand swaroop ri”
Translation: All is One (Brahman). Call it Rama or Rahman, Kanha or Mahadev, Parasnath or Brahma; pots are different, but as earth, they are one. Even so, do we make imaginary differentiation; in essence, Truth is one and indivisible.
He believed in the goodness of humankind. Only when we perceive this will there be love towards the other, no matter the occasional faults you might find. He believed in the good universal values that have been through the test of time.
Ram Kaho Rehman Kaho by poet “Anandghan" (Source)
Anandghan Source:Wiki
This October 2nd, on his Jayanti, let’s take a moment to remember him not just by the deeds he left behind but by the passion he held in his heart towards another being, by the possibility of harmony that we could see and make it true in our own small communities, by the grit one could cultivate and blossom and by the unshaken feeling of inclusivity he held that is more important than ever in today’s world.
hnav jan to tene kahiye je eeD paraayi jaaNe re dukhkhe upkaar kare toye n abhimaan na aaNe re”
tion: One who is a man of God nds the pain of others as his own. ho helps the other in distress tting self-conceit enter their mind.
jan to written by poet Narsinh Mehta in Gujarati Narsinh Mehta Source:Wikipedia
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By Dr T L
You will find no rest for the long years of eternity For you killed a bird in love and unsu
This is the very first ‘Shloka’ of Sanskrit Poetry, emanating spontaneously from the tongue of ‘Valmiki’ out of erupting ra and grief, cursing a hunter upon witnessing him arrowing do one of the birds of a cuddling crane couple And thus, born t ‘Aadi Kavi’ of Indian Poetry, Valmiki
Valmiki was born as a brahmin called ‘Lohajhangha’. He wa a devoted family man, but to sustain his hungry family going through a prolonged famine, he was compelled to rob peopl venturing into the forest During one such robbery, he encountered the ‘Saptharishis’ (Seven sages) on their journey.
Pitied at his plight, they offered him a ‘mantra’ to meditate upon The brahmin turned thief sat in ‘tapas’ reciting the ‘mantra’ without even getting up for such a long time that anthills started erecting around him. During their return, the Saptarishis saw him so engrossed in tapas they blessed him to be acclaimed as ‘Maharshi Valmiki’, the one who emerged enlightened from a ‘Valmika’ (ant hill).
The thief turned to Rishi and wrote the first epic poem of India, “Ramayana,” which became the ‘Aadi Kaavyam’ (The First Epic Poem). It depicts the life of ‘King Rama,’ the epitome of goodness and dharma, and his conduct and deeds stand tall as an example of how one could lead one’s life Studded with such high-level morals, Ramayana is revered as the must-read poem for every person, a tradition been followed for generations since antiquity in India.
The poetic legacy of India could easily be more than four millennia old, right from the era of the ‘Vedic hymns’, which were ‘Mantra’ chantings by the early sages of India called ‘Rishis’ dating back to 2000 BCE. These sacred mantras called ‘Ruks’ were composed with linguistic beauty, auditory rhythm and, most importantly, conveying a profound knowledge subtly and subliminally exuberating all the requisite qualities to constitute an ode These very first sacred hymns or the ‘Ruks’ can unequivocally be said to qualify as the earliest poems of India, probably of the whole of humankind, and the ‘Rishis’ who created these poetic hymns may also be called the very first poets of
the civilized world These sacred ‘Mantras’ were compiled into the four distinguished Vedas by ‘Maharshi Veda Vyasa ’
Vyasa was born to a fisherwoman Sathyavathi through Rishi Parashara in a chance meeting when the sage, during a voyage, had to cross the river Yamuna in her boat. The Rishi, attracted by her beauty, went on to have a son with her He took his son Krishna Dwaipayana along with him and tutored him into a highly knowledgeable poet sage. He compiled the ‘Ruks’ into the existing forms of Rigveda, Yajurveda, Samaveda and Adharvana Veda. He is also credited with the creation of the other important epic poem of Mahabharatam, Bhagavatam and the eighteen ‘Puranas’
The Mahabharatham is the longest epic poem of all time, with 2,20,000 lines in about one lakh verses. Mahabharata is a story of a war between good and evil represented by the two groups of cousins, the virtuous ‘Pandavas’ and the vile ‘Kauravas’. The righteous Pandavas were guided by the great soul Krishna in their victory over the wicked Kauravas. Krishna’s motivational discourse on the war to the distressed Arjuna on the battlefield became the BHAGAVADGITA, a poem within a poem Bhagavadgita is considered one of the greatest guides on how to lead a life in the face of adversity
and work one’s way through worldly life unattached to its binding obligations, which are the basic cause of suffering in the world. It can be said that Bhagavadgita is one of the cornerstones of the entire Indian philosophy and the most sacred text of Hinduism
Thus, the epic texts of ancient India are unique in that they do not stop at telling stories but also provide insight into leading a proper way of life through their morals and messages. This property of Indian Poetry with a purpose of providing guidance through propagating morals has been incorporated into the later writings of many Indian poets.
The ancient Indian poets Valmiki and Vyasa shared one thing in common: they were actually part of the stories they wrote. Valmiki had a role to play in Ramayana as also Vyasa in Mahabharata. Both wrote about the biographical stories of the persons contemporary to them with extreme precision and direct first-hand knowledge. That fact is one of the strongest arguments against modern world skeptics who believe that Ramayana and Mahabharata are mere mythological tales. The accurate depiction of events in their stories perfectly correlating with the current geographical locations provides enough circumstantial evidence to convince us that these epic first-hand accounts are real historical chronicles. And the protagonist of these epics, Rama and Krishna, are historical figures turned into Gods because of their most divine deeds. The Ramayana and Mahabharata are not just limited to a story's portrayal. They are studied in almost every stanza, morals of virtue and valour, ethics of individual behaviour at family and societal levels.
The Vedas are considered a genuinely abundant knowledge of everything, from the consciousness of the Self to the awareness of the almighty - from the concepts of the tiniest atom to the cognition of the astronomic cosmos The regular chanting of these mantras steered the quest of the Indian seers to seek beyond the Vedic extrapolations paving the way for further inventions, be it the decimal system and the number ‘Zero’ in Mathematics or the modern law of ‘Entropy’ as is mentioned in ‘Nasadeeya Suktham’ of Rigveda.
Though these poetic treatises are primarily perceived for their literary and philosophical values, they are believed to incorporate deep scientific knowledge as well The understanding of their true scientific contributions is yet to be fully known. Still, it is thought that many scientific discoveries claimed by the modern world were postulated in these poems many centuries earlier. Many such postulates are considered to be found in the ancient Indian literary works by the poetic Rishis of the post-Vedic era. It is perhaps a failure on our part, the intellectual elite of India, for not being able to fully appreciate and communicate the contribution of Science and knowledge in our ancient texts to the whole world.
The Passage of the Poesy of India does not just end there in antiquity. Its grandeur had endured further by the majestic medieval Indian Bards not just in Sanskrit as by Kalidasa, but also in its daughter language Hindi by the likes of Kabir and Tulasidas, as also in adopted languages of Urdu by the likes of Amir Khusrou and Mirza Ghalib.
Let’s return soon in the next edition to revisit the poetic feats of those remarkable rimers of India.
By Jyothi Neelakantan
I feel the memory of some songs operates like the memory of food for us.
They stay in our minds for a long because they are delicious and leave an indelible impression because of their beautiful flavoured smell. Songs composed in the Carnatic music Ragam Mohanam are like that for me.
They are very pleasant, bright, simple, energetic, easy to learn, and meditative. Such are the features of compositions in this ragam.
Mohana has only five swaras in its Arohana and Avarohana. Such ragam is called Audava ragam – the equivalent of a pentatonic scale in Western music style.
The Janta and Dhatu Swara applications make it reach different levels of enjoyment Emotionally, Mohana can bring out feelings of Veera (courage), Bhakti (devotion), Karuna (compassion), and Rudra (anger). Its parent ragam – Harikamboji, is the 28th Melakartha ragam, considered one of the oldest ragas and believed to be more than 1,000 years old
100 Hz 166.6 Hz
Sa Ri Ga Pa Dha 111.1 Hz 125 Hz 150 Hz
The frequencies of Mohana ragam swaras
The Swaras are S, R2, G3, P and D2. On a lighter note, students are instructed to remember that Mohana has no lust for money since M and N are absent from it.
No doubt, it is universally popular It is found in the tribal music of many nations - Hungary, Sweden, Mongolia, Russia, Australia, Europe, USA. Many Chinese tunes are in this ragam, and interestingly, the national anthem of Thailand, Japan, and Burma are composed in this ragam Many Malaysian dance songs are composed in Mohana ragam, and accompanied by Sapeh, the plucked lute. Since countries like Malaysia and Thailand have adopted Ramayana in their theatrical plays, their theatre arts also have the influence of Mohanam
Among the Trinity, Muttu Swami Diksitar (Left) Saint Tyagaraja (Middle) have compositions in Mohana ragam, but strangely, we don't have any composition by Shyama Shastri (Right).
In Hindustani music, the equivalent of Mohana raga is Bhoopali or Bhoop, which has the same swaras and belongs to the Kalyan Thaat It’s an evening raga, which is considered to bring tranquillity and has an emphasis given to ‘Gandhara’. It is melodious and soothing when rendered well.
Mohanam is an auspicious ragam that features in all Carnatic concerts and fits nicely in all categories of music like varnam, geetam, slokam, kritis, tillana, javali, viruttam, and mangalam. In Hindustani music, this ragam is also easily adapted to various forms such as khayal, dhrupad, thumri, bhajan, trivat, and tarana.
A Thaat is a "Parent scale" in Hindustani music, an equivalent of Melakartā in Carnatic music. Kalyan Thaat, one of the ten basic thaats of Hindustani music, consists of an important group of evening ragas ( Yaman, Bhupali, Hindol etc.)
A famous Kriti in Mohanam was written by Sri Tyagaraja because of a life incident. The story goes that his daughter’s marriage was fixed, but his favourite discipleVenkataramana, was out in his village and was nowhere to be seen. As the wedding approached, Sri Tyagaraja became quite agitated about Venkataramana’s absence. Nearer to the wedding, Venkataramana was spotted approaching the saints' home with a heavy portrait of Tyagaraja's favourite deitySri Rama. He had brought this as a gift for his Guru's daughter.
All the built-up emotions inside Tyagaraja Swami spontaneously burst out in the form of this beautiful Kriti - Nanu Palimpa, which means - “you walked all the way to save me.”
Countless musicians have composed this ragam except for Shyama Shastri, which to me, is a mystery.
Do you have any additional information about this ragam, another jewel to this crown, that you would like to share? Do tell this humble student.
For Nannu Palimpa song Lyrics, Meaning and Notation in English
Saint Thyagaraja (on right) with his direct disciple Venkataramana Bhagavathar (on left)
This auspicious ragam is invariably featured in most concerts and fits into any mould easily...
The National anthem of Malaysia "Negaraku"
Gujarti Ghazal
Chinese folk song, "Mo Li Hua" dates back to the 18th century
Movie song Dil Hoom Hoom Kare by Lata Mangeshkar
Read about Ancient Indian Education System.
Read the musings of a World-class Odissi dancer.
Read about an Indian painter painting his silence on the canvas.
Read about Hampi's Temple of Music.
DiscoveryourIndian'ness' throughthesilencethatreadingoffers.
Read our interview with the beloved author & social activist Mrs. Sudha Murty.
Read about Kalaripayattua martial art-form designed to develop harmony.
©Belraj Soni
October heralds the festive spirit like no other time of the year does. From Dusshera to Christmas and Navaratri to New Year, the next three months are something to look forward to and spend cherished time with friends and family.
Long pending visits that we eagerly look forward to are planned to coincide with the festivities to rekindle and strengthen the bonds with families, cultures and traditions.
Celebrations and joy are only doubled with the taste of the myriad and plentiful sweets and savouries that the Indian palate offers.
Tarang wishes you a fun-filled and fabulous festive season! We will meet you all in a few months with another sweet edition!
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Venu Dorairaj Ramya Mudumba
Satyameet Singh
Dr. TLN Swamy (Advisor)
Dr. DVK Vasudevan (Advisor)
Founded in 2005 by Guru Violin Vasu and friends, the mission of Sanskriti Foundation is to promote Indian art, culture, and values by conducting training, workshops and an annual Tyagaraja Aradhana music festival. Foundation members benefit from meeting like-minded people, attending cultural seminars and attending bi-monthly concerts.
If you would like to learn more and become a member, you can reach us here: http://www.sanskritifoundation.in.
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