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59, Rivoli: A glimpse of the alternative in Paris

Moving towards the ideal of compact, transit-oriented, efficient and sustainable cities is not at all about new designs and technologies. If at all, it entails much thinking about retrofitting and re-using existing spaces and structures in interesting and useful ways. In recent times, we’ve been seeing instances of more tolerant attitudes towards squatters-people who occupy vacant spaces usually through organized grassroots mechanisms-in European cities.

In Amsterdam, the city has reached out to former squatters and professionals to set up systems to negotiate leases with owners so unused spaces can be turned into low-rent or even rent-free spaces for artists or as business incubators (read here). I’ve always been fascinated by instances in which formal and legal institutions engage with the informal (and often illegal) to create something in between. Something quasi that is granted, if only temporarily, a legit status in order to serve a need or create an interesting situation, add flavour to our cities. The constant pull and push between formality and informality, I believe, creates a delicious tension. A frisson almost, that creates a sense of surprise and delight.

On my too-short trip to Paris early November, the highlight was the few hours spent at a legalised artists squat at 59, Rivoli. On the recommendation of my friend Valerie’s daughter, we made it a point to put this on our list of sights on my one day of sight-seeing in Paris. The place was a sheer delight. A number of artists were in residence, all different styles (you can apply to go if you are an artist). The atmosphere of freedom and departure from rules was liberating, even as the spaces were well organized and managed. Chaotic and grungy, but far from the filthy grimy places that squats are imagined to be, neither Valerie nor me wanted to leave. You can spend hours watch the artists at work or you can walk through, you can chat with them and ask questions and of course, you can buy their art too!

59 Rivoli has been in existence since 1999 and Paris is now expanding the concept to take over more empty buildings to create such artist spaces. It’s very heartening indeed, for what is urbanity (or indeed life) without a chance to enjoy the alternative?



My little dancer, full of warmth and pleasant surprises

Aadyaa has been learning kathak for a year now. It’s been a fun ride, but not easy by a long shot, for her and her friends. Learning a classical art form takes discipline and rigour, both don’t come easy for little children. In the initial months, novelty carried her through. But as her guru (well-known kathak exponent Sushmita Ghosh who is also the current Director of Kathak Kendra in New Delhi) pushed them more, I saw Aadyaa’s enthusiasm wane a few times. A few weekends she came back saying: Guruji daant-thi hain- she scolds us! As a mother and a kathak dancer myself, I had to make the right sympathetic noises while also conveying that the discipline is part of the game.

Slowly and painstakingly, the rights and lefts fell in place, her habitual attention seeking faded away and was replaced by a deep sense of enjoyment in her dance, an appreciation of nuances and the development of focus. She started at the age of five, now she is six. And I amazed by the progress all of her friends in the kathak class have made.

The icing on the cake, though, was their stage performance last week. Sushmita guruji began to prepare them for the show way back in December, teaching them the basic piece first and embellishing it as time went on. The choreography was reasonably complex for beginners, but the little ones handled it beautifully. They had had plenty of practice and repetition, so they were all comfortable on stage and not nervous at all.

They shone resplendent in their beautifully designed off white and gold angrakha kurtas with coloured churidaars. They has identical jewelry made and similar make-up as well. All of the dressing up created a flurry of excitement among the girls. For Aadyaa and many others, it was the first time they were trying make up! She sat with a pout from the time the lipstick went on till they got off stage, some for hours!

But far more than how they looked and how well they danced, what impressed me was the confidence and sense of enjoyment that was evident in these little dancers. They are fortunate indeed to be blessed with a guru who loves them and is dedicated to her art. Little experiences like dancing to live music and sitting patiently through the pieces that other dancers performed added to their training. The entire show had an intimate and relaxed feel to it, which I think was a deliberate attempt to draw the audience (parents and well wishers of the students mostly) into the enticing world of Indian classical arts. All in all, a memorable experience for all of us and moment to take genuine pride in our children!

Check out Aadyaa’s dance video below. Credits: Rachna Khanna

And enjoy the pics below! Credits: Nupur Chaturvedi








Weekend workshop: A fitting start to a delightful week of the classical arts ahead!

You know you aren’t so young any more when you are too tired to sleep at night after a few hours of intense dancing during the day. But you know you are young at heart when you wake up the next morning eager to begin again!

This sums up my experience of a 2-day kathak workshop held in Gurgaon at my guruji’s home. Shrimati Roshan Datye, eminent and senior disciple of renowned guru Late Smt Rohini Bhate came from Pune to teach us, bringing into my consciousness a whole new level of nuance and detail, enhanced attention abhinaya and an awareness of the theoretical aspects of natya that bind kathak to the great performing art forms across India.  It is this sort of exchange promoted by the guru shishya parampara that, in my view, demarcates the mundane from the truly meaningful in the world of the classical arts. My sincere gratitude to my guru Jayashree Acharya and to my daughter Aadyaa’s kathak guru Sushmitaji for giving us such a wonderful opportunity.

So much to learn, so little time! So thankful for the opportunity...Pt. Birju Maharaj, showing us the nuances of kathak and how we can relate it to our lives. 14th Oct 2013

So much to learn, so little time! So thankful for the opportunity…Pt. Birju Maharaj, showing us the nuances of kathak and how we can relate it to our lives. 14th Oct 2013

Smt. Roshan Datye who taught us for 2 days. A lady full of grace and energy

Smt. Roshan Datye who taught us for 2 days this past weekend. A lady full of grace and energy

Mere ghungroo...earnestly trying to learn, but a long long way to go...

Mere ghungroo…earnestly trying to learn, but a long long way to go…

Over two days, Roshanji taught three batches of students, ranging in age from about seven all the way up to 40! And at least 80 in number. She taught all three batches distinct stage-appropriate compositions. But beyond the compositions themselves, I was impressed by her own energy levels, her attention to detail and her innate ability to be a good teacher- a robust communicator who knows when to pick up the pace and when to slow down and her instinctive use of humor to highlight concepts or lighten awkward moments! Kathak thrives on analogies from our daily lives. A few days ago, we were blessed by the presence of Pandit Birju Maharajji (also at my guruji’s home) who also presented numerous examples of how kathak is drawn from simple everyday actions and emotions. Roshanji took forward that line of thought for me, helping me form many links inside my head, never mind that the body will take many more years of riyaaz to actually translate that understanding into graceful movements!

1240221_10151712498407851_1100834892_nThe two-day workshop set in motion a week of celebration of the arts by the Aakriti Foundation, run by a group of erudite artists including my guruji. This is an annual festival called Tasmai and is dedicated each year to a great artist this year Smt Rohini Bhate, Smt Datye’s guru. On the 22nd at the Habitat Centre at new Delhi, we look forward to none other than Pt. Birju Maharajji grace our festival with his presence on stage, preceded by a performance from the students of Nritya Bharati, Pune. On the 23rd, Pt. Sarathi Chatterjee and the Kedia Brothers will take the stage also at the Habiat Centre. The festival draws to a close on the 25th with dance performances by Maharajji’s children- for the first time, we will get to see both Deepakji and Mamtaji on stage and I really look forward to this. Students of Jayashreeji and Sushmitaji will also be on stage at Epicentre, Gurgaon on Friday the 25th. For those of you in Delhi and Gurgaon, there is plenty on offer. Do come forward to support the arts, for the love of beauty but also for the sake of the continuity of parampara (traditions) that are, as Roshanji reminded us yesterday, at least 3000 years old!

Guru, guidance and learning #selfimprovement

It is Guru Poornima today, the full moon and last day of the Ashad month in the Hindu calendar. Widely celebrated to honour Guru Vyas, it is also the time to pay respect to the guru.

Who is your guru? Or who are your gurus? It’s open to interpretation, what a guru means to each of us. A teacher, a guide, a mentor, someone you look up to for guidance, someone whose benevolence is in itself a teaching, someone who is free to tell you the blunt truth, in front of whom your ego does not exist. Above all, someone who helps you change for the better, define your goals, achieve them, then redefine them yet again. A guru keeps you on the path to self attainment, saves you from yourself when you lose focus and give up.

We all need a guru or more to face up to the challenges life throws us. Yet, we are taught to be self sufficient to the extent that seeking help or speaking of our fears are seen as a sign of weakness. My first lessons in humility and self introspection came from my parents, who are regarded as the ultimate gurus in the Hindu tradition. I remember clearly my mother asking me if I was vain when she caught me preening constantly before the mirror when I was maybe nine or ten! In her criticism of my lack of focus or her rebukes for my lack of organisation, I see now her attempts to guide me. By setting high standards herself, she ignited in me a passion for life, a hunger for information and analysis. Daddy taught me balance, that quality he had in plenty and that he patiently inculcated in those around him as well. The ability to listen to others, to empathise, to always be ready to learn. I saw him practice these and imbibed as much as I could.

So many role models! My grandmothers Ajji and Amamma, both strong intelligent wilful women ahead of their times in many ways. Today I feel like they still have so much to teach that we, caught in our lives, are failing to learn. My grandfather, Vava, a man of learning and passion, who took me under his wing when I was very little. Aunts, uncles, cousins, relations.

As I grew older, friends became gurus too. One taught me the art of keeping secrets, another inspired by his selfless sharing of knowledge. A friends reckless spirit drive me to discard inhibitions. Another taught me to love unreservedly. Every day, Rahul inspires me to not judge my loved ones. I can go on and on.

In the arts, the status of the guru is more defined, especially for those of us who learn any of the classical Indian art forms where ‘guru shishya parampara’ is still a live tradition. My music gurus, Aaba Thali, Milon Debnathji who will always be Masterji to me and now Shanta Mishraji, I am eternally indebted to you for the gift of Sur, Taal and Sadhna. My kathak guru Jayashree Acharyaji deserves a special mention, for the immense positive energy that she brings to my life.

I fill my life with gurus because they help me stay centred and fulfilled, but also because they do not let me get complacent. However modern life gets, certain simple gestures and traditions always affect me profoundly. Touching the guru’s feet, for instance, might seem old fashioned to many. But in that instant, when I bend and submit myself, I let go. And when I rise and my guru beams back a smile, I am filled with light and pride. I know all is well with the world!

My emotional bond with art is also my tool for positivity

I feel blessed today by my good fortune in finding not one, but two gurus to guide me through my journeys in art and self-development. For these are intrinsically linked and I see that clearly more than ever before in my life.

Let me back up. Culling out lessons from the experiences of friends, family and my own, dealing with the stresses of urban life and staying positive in the face of multiple pressures are the most oft repeated challenges we face. For those who put all their eggs in one basket, by choice or otherwise, it becomes vital to excel in their chosen area of concentration, whether its the home, the workplace or a serious hobby. My strategy has been to diversify my risks so to speak and is in line with the fact that i do have multiple interests and I may say talents that I can pursue. For many years, I focused on studying and music suffered. If I turned to music, a full time job would mean it would get little attention. If I left it, my guilt would kill me. I would stare longingly at salsa dancers and die to learn. I would go to performances all alone and cry bitter tears of remorse.

In my thirties, in the middle of struggling to balance home and career, raising young kids, something snapped inside me. On an impulse, I joined Shiamak Davar’s dance classes, after a gap of ten years! As I learnt to take time out for myself and got back to dance, my confidence grew. Three years later, I started learning kathak, for the first time in my life. I also tried various music teachers till I found my current guru. Between music and dance, both of which I pursue earnestly and purely for self-satisfaction, I found the self-confidence to explore new avenues at work, to think creatively, to approach problems with a positive attitude. If a particularly tough tukda (technical piece in kathak) can be mastered by being attentive and through practise, if my voice can hit that high note that eluded me last year, then issues at work can also be tackled.

Today, I find myself far more centred than I have ever been before. Even if things don’t go as planned, if I don’t meet my expectations in one area of my life, there are other things happening to compensate. I had this vital insight this weekend, that I had been deploying this as my stress management and positive thinking strategy! Whatever works, I guess!

This morning, I had the fortune of interacting with two talented artists. Nishi Singh, a kathak exponent of the Jaipur gharana who weaves the nuances of the Lucknow and Benares gharanas into her dance thanks to her training under several gurus was invited by my kathak guru ji Jayashree Acharya for a lecture demonstration with us students. We were doubly fortunate today to meet Vidushi Mamta Maharaj, daughter of Pandit Birju Maharaj, who also visited the studio. In watching her love for her art and her versatility-she played the tabla, sang and danced with equal ease-I was reminded that love and passion, and an immersion in the arts can bring a fluidity to life that mere hours of tutelage and practice cannot. Mamtaji’s message was one of emotion, of the need to connect to your art through your emotional side as much as through the intellectual side. To me, it is a validation of the emotional bond I have had with music and dance for years. There was a time when I would be ashamed of crying at a performance or being too emotional to sing on certain days when Masterji was too harsh in me. But now I know those were the signs that the bond is there for life.

I sit out hearing Udai go through his music lessons inside. There are days when I see his tears of frustration at not getting his notes right. And I hope with all my heart that he forms this bond just as I have!





Dancing kathak on stage: Why this has been my biggest high in years!

I am slowly beginning to realize just how traumatic urban living is getting to be. Oh, we would not give up this life easily, those of us who have lived in a city for long. We value our ‘freedom’ just as we bemoan the lack of safety. We love the anonymity, but worry about loneliness. We wonder how long the water will last, just after we’ve taken that refreshing shower!

I am certainly very much the strange urban creature, a powerhouse of contrast and confusion. I notice that we all find our own survival strategies to endure the strange confused nature of our city lives. Social networks have certainly begun to close some gaps for those of us who find it hard to have the energy to keep up with a ‘real’ social life; or we combine the two in some way to remain afloat on the tide of anonymous humanity that surrounds us. But this wasn’t enough for me and I found myself turning towards cultural stimulation to fulfill some of the void inside.

I took up kathak a year and a half ago and entered the world of the classical arts, slowly slipping into it and letting it seep into me. Soon after, I resumed training in Hindustani classical vocal music. My life- work, family, home, friends- all the things that I think and do find anchor in these two weekend time slots-one for dance and another for music.

The weekend gone by, it felt like one branch of me was bearing fruit when my friend Shruti and me performed on stage at Epicentre, Gurgaon. Minutes before the show, standing in the wings, I found myself calm and eager, and completely satisfied. A short while earlier, I had spontaneously touched my guruji’s feet, probably surprising her a bit, but really needing her to put her faith in me. I think the transfer of energy worked some little magic. I told myself that a few months of intense riyaaz and real desire to do well should be enough. And it was!

Shruti and me taking a pose as the alaap starts... photo credit: Nupur

Shruti and me taking a pose as the alaap starts… photo credit: Nupur

After completing our piece, a superbly choreographed Shiv Stuti ‘Damroo har kar baaje…‘ set in Raag Gunakali, Taal Roopak, I felt a level of achievement I do not remember reaching in the past few years through my many other pursuits. This had been a hard, personal battle. A battle to re-prioritize, to push myself, a test of self-confidence, a desire to fulfill a lifelong dream of being a classical dancer….all of that!

Of course, the credit goes largely to our guru Jayashree Acharya, for reposing her faith in us. For not questioning us, but simply taking our decisions for us at a time when we did not know what our own capabilities were. To offer us the experience of preparing a stage-ready dance piece, to learn to dance to live music of high caliber (Shiv Shankar Ray on the tabla, vocals by Anirban Bhattacharya and Pritam Ghoshal on the Sarod), to learn to focus, take criticism and be graceful about it. To be a student of an able guru, a hugely valuable experience. I have written about this before (on my experiences as a student, and as an observer), but in the past year and a half I have been gladly re-acquainted with the best aspects of the guru-shishya parampara, where the relationship between teacher and disciple is a continuously evolving one, bringing in aspects of spirituality, respect, devotion and commitment and moving beyond mere instruction and obedience.

This sort of training has a lot to do with why I feel a greater sense of satisfaction after this performance as compared to the many times I danced on stage through the past few years, as a student with Shiamak Davar’s group. That also involved practise and dedication, a lot of technical training too. But this involved a spiritual awakening that only the classical arts can invoke. It’s something I will remember all my life. Of course, there is much more to learn and it is an endless journey, but I’m grateful and proud to be able to be in this place, at this time…..

Shiv and Pravati pose

Shiv and Parvati pose

In motion...

In motion..

Shiv ki aradhana...

Shiv ki aradhana…

Really enjoying this bit...Shruti and me

Really enjoying this bit…Shruti and me

Things that make me go :)

I was extremely happy yesterday. It wasn’t like a lifelong dream had come true or anything like that. But several small happy events and decisions contributed to my high. I realized that is what makes me happy. Not the Big Thing, but many small happy things. I thought I’d list the Top 5 things that make some days better than others!

1- Appreciation/Recognition: Yes, I am an approval seeker. Am facing it squarely, with no regrets or apologies. Nothing motivates me more than someone I respect saying I did a good job. This is more relevant in the case of work, but applies generally as well.

2- A piece of writing completed: A blog post, an article, a section of a research paper. Fiction, non-fiction. Short, long. Emotional, descriptive. It doesn’t matter what, but doing a solid bit of writing everyday gives me a huge sense of achievement.

3- The prospect of travel: Huge mood lifter! I literally want to travel the world, but I’m equally happy with more mundane travel. Booked tickets for a short trip to Mumbai with my kids to spend time with friends yesterday and that put a smile on my face for the rest of the day!

4- Family time: Fun, crazy, pointless activity time with the children, Rahul, the mums, extended family and friends-turned-as-close-as-family has become a vital part of my day. And I need a shot of this every day to feel normal and sleep well. Usually, it’s watching Aadyaa play with her friends in the park in the evening, while we mums and dads chat and catch up on gossip! Other times, it’s catching late night movies or cooking as a family!

5- An arty aside: If I can find time to practice dance or music, it adds that extra zing to my day. On days like yesterday, when I pushed myself to do both, I feel satiated. This is the ultimate soul food!

Yesterday was perfect because all these 5 above came true…. I am still smiling!

Finding happiness in dance: Vignettes from my kathak journey- Oct 15, 2012

My weekends are intensely cultural these days. That’s because I learn kathak on Saturday mornings and Hindustani classical vocals on Sunday afternoons. It’s been a long cherished dream for me to get back to both dance and music and once I had decided, there was no stopping me from soaking it all in!

Fortunately for me, I have found patient, good-natured and excellent gurus in Gurgaon. Learning under the tutelage of someone who not only excels at her art, but also is passionately in love with imparting its nuances to her students takes the experience of learning to a whole new level. I find that the informal interactions we have with our kathak guru Jayashree Acharya on art, culture, attitudes to life, how we deal with change in our society, values and a whole range of issues, have a direct bearing on our understanding of kathak as a dance form and the importance of pursuing and practicing the classical arts in modern urban Indian society.

Earlier this month, I had the pleasure of watching Jayashreeji perform at the India Habitat Centre as part of ‘Tasmai’, a festival organized by the Aakriti Foundation. What struck me, besides the mastery she has over her art form, was her high comfort level on stage, her easy interactions with the audience as well as with all her co-artists who were supporting her. I felt like I was part of her performance, not someone watching from the outside.

My guru, Jayashree Acharya. She is a disciple of the famed kathak exponent Pandit Birju Maharaj and a superb dancer and teacher herself. Photo: Avinash Pasricha

Her students, aged between six and fourteen perhaps, performed a dance ballet ‘Paratatva’ at Gurgaon’s Epicentre a couple of days later. In terms of the theme, Paratatva dwelt on the importance of balancing the five essential elements of nature as a way to ensure the continued prosperity of our world. The raw power and beauty of nature, its sounds and rythms, its cascades and cadences were beautifully expressed by the children who performed via a skilfully choreographed ballet. Subtle costumes representing the colours of the elements-grey, orange, blue, green, brown- and a melodious background score added to the impact.

A capture from the dance ballet Paratatva

I enjoyed the overall effect of the dance compositions I saw, but also revelled in the joy of understanding some of the intricacies and even recognizing patterns (both tukdas and footwork) that we have learnt. A friend asked me whether I would be on stage some day and I didn’t really know what to say. I’ve always been the sort of person who craves the spotlight. I’ve performed many times- music, dance, drama, elocution….through school and college. I fancied myself quite the star, the diva.

But now, in my thirties, life has taken on a very different rhythm, a very different meaning. I savor the pleasures of learning and being taught without the bother of that competitive edge nor the bitterness of regret or failure. I enjoy both music and dance as art forms as well as ways to give myself the me-time I need. I have high expectations of myself, but I do not set boundaries or deadlines that stress me out. Now, in this way, I am truly enjoying the classical arts as they deserve to be enjoyed. No wonder, the good old traditions of yore placed the student at the feet of the guru, to learn, evolve and grow, bit by bit, over many years till maturity was attained, and beyond.

Jayashreeji’s students receiving their guru’s love and blessings at the end of the show

Of watching theater and ruminating about ethics and snobbery! May 12, 2012

I am eternally fascinated by the performing arts, but unlike dance and music, theater daunts and entices me at the same time purely because I have little talent for the stage (theatrics in real life is another matter altogether!). Tonight, I watched ‘Chinese Coffee’ at the Epicentre in Gurgaon. Danish Hussain has big shoes to fill when he attempts to direct and act a part played by Al Pacino way back in 1992 on Broadway. Ira Lewis’ script, which takes us through an evening of two failed writers in a heated discussion about their art, their life and their friendship, is a difficult one to perform simply because it required only two actors to sustain an intense performance that slips in and out sarcasm, humor, mimicry and anger with suprising speed. A two-hour long performance by Danish and Vrajesh Hirjee, the latter especially talented and energetic, was well appreciated tonight.

A few things about the play, which revolved around one friend’s reaction to the other’s latest manuscript, struck me particularly. The adaptation we saw today is set in Delhi. At one point, there is a discussion about how this large metropolis does not actually energize us, but sucks the life out of us because by living in it and breathing its polluted air, we are unable to perceive any reality other than this. Or at least that’s how I interpreted the dialogue! I have observed people born and brought up in large cities are genuinely naïve about any other sort of life; worse, they often look down on small town people. I experienced that a bit when I came to Delhi to study architecture for the first time and I was shocked that many of my Delhi-ite classmates were so satisfied with their rather limited worldview!

The other more serious issue and also the one that took the play to its climax is that of the thin line between fact and fiction. What happens when you use real life people as inspiration for fictitious characters and you weave a bit too much of their real life (as confided to you as a friend) in the book? One friend accuses the other, in the play, of ‘stealing his life’! Some years ago, I began on my first and only attempt to write fiction. It was a novella about a group of friends in a big city. Inadvertently, I used a close friend as part inspiration for one of the characters. She, who also is the only one to read this tentative piece of work, saw through this and commented on it, not critically, but as a matter of fact. I was unable to continue the story and haven’t returned to it since, petrified by the thought that I might offend her or borrow more private aspects of her real life for my story! A nightmare in the works it was…..

On a lighter note, the play made several digs at popular fiction, which it clearly classified as trash. I see that kind of attitude among those I follow on twitter, among the literary and artistic type and I can’t stomach Chetan Bhagat either (I don’t knopw why he is always the target, poor guy!). However, I cannot for the life of me decide whether I must mourn the taste of the majority of this country’s reading public (who for some inexplicable reason thrives on self-improvement books, chic flicks and dude flicks!) or accept this as a reality I have no right to be snobbish about!

Mesmerized by the alternate world of the classical arts- May 2, 2012

“This is what Shaji wanted to say when he talked about opening the world of math to children (with reference to post on teaching math),” I thought, listening to the countless permutations and combinations, several tempos and meters of Pandit Sarathi Chatterjee’s rendering of Raag Yaman today. The renowned musician sat a few feet from me in a wonderful baithak setting, once again created in the home (with reference to a post on a kathak event) of my kathak guruji Jaishree Acharya and her husband tabla maestro Shiv Shankar Rayji, who was accompanying Sarathiji today.

Masterji taught me well indeed, to be able to appreciate and also understand what the singer did, the method he used to render the alaap, climbing up slowly one note at a time, while teasing the audience with a hint of the note yet to appear; what orders of notes he combined to achieve his taans; the dialogue he had with the tabalchi while playing with the beat cycle in myriad different ways! By masterji, I mean my music guruji in Lucknow, Milon Debnath, who often had to deal with a sulky adolescent me, unwilling to sing Raag Yaman for the 1500th time and yet happy to eventually get cajoled into doing so after a 15-minute diversion into something like Bageshri!

Ah! Those were the days! The alternate world of music; the world in which I, as a child, could effortlessly slip in and out of. Today, when I listen to good Hindustani vocal music, especially at close quarters, I regret feeling like an outsider to that inner sanctum that once had a place for me.

And yet, I truly appreciate masterji’s effort now, so many years later when I am finally learning to listen well. I cannot thank him enough. The magical evening started with an 80-minute recital of Raag Yaman, and moved on to renditions in Raag Hamir and Raag Anandi, concluding with a thumri in Raag Pilu.  In the end, there was silence and lots of happiness in the room!

I want to be able to give my children a window into this beautiful world, not just as rasiks (those who listen, appreciate), but as practitioners of these classical arts that have a timeless beauty, even as I want to reclaim a bit of it for myself.

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