Control

Control. It is a the essential to success it seems. In any field or path, control is needed to achieve great heights. Discipline in one's actions, control over one's body and mind.

Our monkey mind jumps from here and there, the struggle is to bring it in our control, not be controlled by it. In dance, a good dancer distinguishes herself from the mediocre by having control over her body. Each movement, each limb follows her command. In tabla, I have the cursed blessing of speed. It doesn't take long for me to play something fast, but to play with precision requires control and even that speed should be of my doing not its own (think of the fast skater in Mighty Ducks). Its common to hear in the beginner class, "My finger (or arm) does that on its own," to which the response is always, "It's it your finger, control it."

One big struggle is for that control. The mind and body to work on your command.
Our mind revolts. Of course it does, it wants no master. Providing excuses and excuses, reasons for our defeat. But to gain that control means to first understand the monkeyiness of the body and mind. To recognize, its innate desire to move according to its own will not yours. With focus and determination, constant perseverance, its about making it your own, for one moment, then two, then three and five.

With that control, comes freedom. To execute one's vision and creativity to the fullest. The ability to move and play as one desires. Coupled with understanding, creativity finds its outlet, unhindered and expansive.

Glimpse into Tabla Class

Many have wondered what tabla "class" is like for me and how Guruji teachs. Well, here is a little video that gives you a glimpse into a teaching session. I'm lucky because I get to sit in on these sessions a lot and as you'll see they are a lot of fun to be apart. Guruji is teaching some gurubhais different compositions from two gharanas that he has been formally trained in, namely Ajrada and Delhi. For those new to tabla, you'll hear the language of tabla (the fact that each stroke has its own name, along with its grammar, etc).

Aal Izz Well

I saw 3 Idiots last week, basically after the entire town had already seen it. I was further motivated to write a post I’ve been thinking of writing for a long time that touches upon stuff in 3 Idiots. I generally don’t write about movies or books, but came to feel that the movie deserves a post of its own and the other post I’ll get around to.

After a serious drought of commercially successful Bollywood movies, 2009 really ended with a bang with Paa and 3 Idiots. All around whether it be in class or via facebook friends from around the world, everyone was talking about 3 Idiots. Even though, I don’t watch many Indians movies, even fewer in theatres (though movie watching and eating out are the top two recreational activities in Ahmedabad), I was determined to see this one in a theatre.

First I must acknowledge the awesome theatre. I saw it in the club class of Wide Angle, where they have fully reclining leather chairs. Very comfortable and if its a boring movie, you could easily sleep.

BUT 3 Idiots is not a movie to sleep through. Some said it was another Lago Raho Munnabhai, but I beg to differ. Yes it has its comedy, but not to the extent of Lago Raho. The second half of 3 Idiots actually has much less comedy than the first half and tear-jerking scenes (yes I am one of those people that cries in movies…)

I love the “message” of the movie. I am really glad to see a mainstream movie really talking about following one’s passion and not doing getavruti (acting like a donkey – aka doing whatever the mass does). I sincerely hope that Indian parents especially take this message to heart and are more open to allowing their children to do what they want, not what the parents think they should do. The film of course hit home with me as I’ve had to personally face the music about doing something very different, but that and more in another post.

Aamir Khan really has done it again. His films offer great variety and he is really doing a great job in creating entertaining and educational movies. Commercial Bollywood films can be a phenomenal outreach medium as they reach thousands around the world and he is using it as a social education tool.

Besides the film itself, you have to also give him kudos for the very unique marketing techniques used to promote the film. But the butt chairs in theatres, morning shows with free breakfast, “Where is Aamir Khan” game across India – he put fun into film promotion. The 3 Idiots quiz (CIT) on the Idiots Academy website reminded me of Brain Teasers I used to do as a kid. Want to see if you think outside the box? take the quiz =)

If you haven’t seen it, go see it.

If you need a push to go follow your dreams, go see it.

If you need help convincing your parents to support you as you follow your dreams, go see it with them.

Weeklong Indian Music Workshop in India!

Its a common thing to hear that people are interested in Indian music, want to understand it a but better, but don’t have the time to dedicate themselves to a full study of it. Here’s a great program for those interested in learning about Indian music. If you are already practice Indian music, its a way to deepen your understanding, learn from Guruji (Pandit Divyang Vakil), work with the world fusion group Taan and Rushi and jam with musicians from around the world for a week!

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Intrigued by Indian Music?

Want to learn how use Indian rhythm and melodies?

Explore the vast world of Indian music in India

Rhythm Riders invites you to

1 Week Indian Music Workshop in India

Aug 1 – 9, 2010 in Mount Abu, Rajasthan

*Experience India through its music amidst nature

*Explore Indian music, from its classical and folk to its contemporary forms

*Nightly jam sessions and concerts

*Learn to adapt Indian Music to your own music and instrument

*Special workshops on Indian percussion

*Special lectures with Tabla Guru Pandit Divyang Vakil

Final Concert Performance with World Fusion Group Taan

Open to musicians from around the world

instrumentalists and vocalists of all music genres welcome

Fees cover teaching, accomodations, local transportation, food and events.

**Airfare not included**

Register by April 30th, 2010.

Contact Rhythm Riders at manager@rrmproductions.com
or call (201) 467 4431

For information on Rhythm Riders, visit www.rrmproductions.com

Moving

For a while now, I've been pondering moving my blog from blogspot to wordpress and I've finally gotten around to doing it. The new blog is still in the works, but its where I'll now be posting.

You can now find me at rhythmicthoughts.wordpress.com. Hope to see you there

Fruit and Coconut Quick Bread

Randomly, I'll decide to bake. I started baking because of the lack of good cookies and cakes in Ahmedabad (I would go to Subway to satisfy my cookie desire...). I don't get time to bake regularly, but when inspiration strikes, I have the basic ingredients around to try stuff out. Music and food really go hand in hand. Majority of great ustads were also incredible cooks. For me, its more about the baking than the cooking.

Anyways, I found a recipe for pomegranate quick bread, didn't have all the ingredients, so I made some substitutions and came out with this - pineapple, apple, pomegranate coconut quick bread (aka fruit and coconut quickbread). It turned out great. A bit on the dense and moist side, but still delicious. I got to use my loaf pan for the first time =) The best part, it's def much healthy than the majority of the stuff I bake.

Ingredients:

• 2 cups sifted wheat flour
  
• 2 tsp baking powder
• 1/2 cup packed brown sugar
• 1/2 tsp salt
• 1 tsp vanilla extract
• 1/2 cup pineapple juice
  
• 1/2 cup shredded sweetened coconut
• 1/2 pomegranate arils
• 1/2 of cup unsweetened applesauce (I used freshly blended apples) + olive oil (I filled 3/4 of the 1/2 cup with applesauce then the rest with olive oil and ended up adding a little bit more applesauce and oil while mixing)

So the applesauce/oil portions are not exact. When mixing I thought there was not enough liquid, so added a bit more. When replacing oil with applesauce, you should keep some oil, which is what I was trying to do. Applesauce makes baked goods as does wheat flour (compared to all purpose), which would explain my denser quick bread. Also I think I might have added a bit too much applesauce/oil as my bread is a bit on the too moist side.

Directions:

1. Preheat oven to 180*C. Grease loaf pan - I sprayed mine using my new PAM baking spray.

2. Combine all ingredients in large mixing bowl; blend well.

3. Pour batter into loaf pan.

4. Bake for 45 minutes until top is firm and an inserted toothpick comes out clean. I baked mine for 53 min.

5. Allow loaf to cool before serving.

Great as a snack or for breakfast!

Power of Education - Three Cups of Tea

International trips are a chance to read. What better way to pass layover time between flights.

Like I said in a previous post, education has been a recurring theme. After the incident with my cousins, I read Three Cups of Tea.

Very often we look for bandage solutions, not going to the root of a problem. This book beautifully speaks of how peace cannot be achieved through coercion and arms, but requires a long-term effort that is based on non-violence and co-operation. How? Through education. It is well-established that madrassas promoting extremist Islamic ideas are the breeding grounds for future Taliban fighters. For every one that is killed, two more appear in his place.

I initially tried to write my own "review" or take on the book, but words came out all jumbled together. I think the comments of Ahmed Rashid, the author of Taliban: Militant Islam and Oil in Central Asia and Descent Into Chaos succinctly summarize. If you're looking for a book to read, consider this one.

"Three Cups of Tea is beautifully written. It is also a critically important book at this time in history. The governments of Pakistan and Afghanistan are both failing their students on a massive scale. The work Mortenson is doing, providing the poorest students with a balanced education, is making them much more difficult for the extremist madrassas to recruit."

To add to his comments; sitting in the West, we can easily speak of removing terrorism, but Greg through his schools in actually doing that. In way that is sustainable in the long-term and heals old wounds and misconceptions.

This book perfectly highlights the power of education. It has the power of create a terrorist or a peace-maker.

The Commercialization of Indian Classical Music

When the Muslim dynasties came to India, the cultural fabric of the country dramatically changed. Food, clothing, architecture were all influenced and of course, music as well. Many beautiful forms of classical music emerged from the confluence of Hindu and Muslim cultures, including the khayal style of singing (prior to this dhrupad was the mainstay of vocal music) and the introduction of tabla.

Alongside these changes, came the commercialization of music. Until that point, classical music was found only in the temples. Music and dance were for the Divine. To hear it, the king went to the temple, the musicians did not come to the court. It is under Muslim rule, that music made its way into the courts, both Hindu and Muslim courts, and the objectives of the musician began to shift.

Classical music has always been described as a yoga or path to the Divine. Through rigourous and tirelessly worship of sound, a musician purified their notes and their souls, seeking to please and ultimately merge with God. In the temples, the human audience was not of importance - they sat behind the musicians; it was for God that the musician played. The power and depth of these artists, the energy they emitted has become that of legend. Their music was their devotion.

When the musician shifted his stage to the court, the King became the focus. If a particularly type of harkat or musical pattern invoked appreciation (which was often in the form of a gold coin), then more were added to the next performance. The King was to be pleased for he was the lifeline for the artist. The goal became materialistic and coinciding with this change, the power of the music diminished.

A story of Akbar and Tansen explains the phenomenon quite aptly.

Tansen was a legendary singer and the court musician of King Akbar. His prowess is still spoken of today and his influence and contribution to Indian classical music far-reaching.

Once the king said to Tansen, "I believe you are the greatest singer in the world."

"No, my king, you are are mistaken. My music is nothing compared to that of my Guru Swami Haridas."

"I wish to hear him sing, call him to my court."

"I am afraid that is not possible. He does not travel outside of his place. If you wish to hear him, you shall have to travel with me on a long journey into the forest and that too, in the guise of a commoner."

It was an unusual condition, but Akbar was adamant to hear the person who Tansen claimed to be better than him.

The king ordered for a disguises and the two set off. They travelled far into the forest, ultimately coming near remote hut along a river.

"We shall wait here," Tansen said, asking the king to rest after the long journey.

Soon they hear the most divine notes from the direction of the hut and the king was lost in a state of ecstasy. Slowly he made his way towards the source and found himself in front of saintly man dressed in a simple dhoti outside the hut.

As the last notes faded and silence descended upon them, the potency of the music remained with Akbar.

The singer opened his eyes and greeted the visitors. "Welcome, O King of India. Your wish has been fulfilled." Swami Haridas recognized the king, despite his peasantry clothing.

The king began to offer much wealth and land to him as recognition for his art, but Swami Haridas would have nothing of it.

Taking leave of his guru, Tansen and Akbar made their way back to the city.

"You sing magnificently, but there really is no comparison to that of your Guru," Akbar pointed out.

"That is no surprise as there is one major difference between us. I sing for you, my guru sings for God. "

Beauty and Need of non-English Languages

There was an article a few weeks back in the Times of India on foreigners taking intensive Gujarati language classes in order to be able to read Gandhi for themselves and better understand his philosophy. This came as no surprise.

As a Hindi, Gujarati and English speaker and a student of French and Spanish, I have gotten a chance to explore language. I recall cringing at the English subtitles during songs in Hindi movies as they destroyed the beauty and nuances of the original words. Compared to these other languages, English just does not have the depth, an observation that many multi-lingual friends agree with.

Learning philosophy from Guruji, I am often confronted with this topic. While Guruji is fluent in English, his native tongue is Gujarati (along with Hindi and Urdu). To make it easier for me, he often teaches in English. Being taught in English basically means that Guruji does a mental translation from Gujarati to English before speaking. Many times, as the topics and ideas are complex, I ask Guruji to speak in Gujarati as he can explain the subject with greater ease. When he does this, I am mentally translating the Gujarati into English before comprehending. My first language was Gujarati and to this day, I still speak in Gujarati with my parents, but my vocabulary has been limited to common Gujarati, not inclusive of many philosophical words. With my philosophy classes, my vocabulary has grown, but without a doubt, my learning, particularly in the initial period, was slowed by language.

There was an article on BBC a while back on native vs non-native English speakers. It spoke of how native English speakers could not easily understand the English of non-native English speakers, while non-native speakers easily understood the English of non-native speakers, regardless of their nationality or native language. The way native English speakers understand the English is very difficult from non-native speakers and I see this divide very clearly in India and during my philosophy classes.

Guruji is not a native English speaker. In fact, he never formally learnt English. In every day situations, English communication is never problematic. However, there are times during philosophy lectures when I have to ask him to repeat a sentence, as I get thrown off by the grammar or the use of a particular word. The mental process to understand the meaning of the sentence is brought to a small stop because of something that a non-native speaker would probably not even notice.

Just a few days ago, he was speaking to me about the basis of yoga. The topic made its way to the difference between science and spirituality. The difference can be understood through correct understanding of the words vishmay and akarshan. In a Gujarati-English dictionary they are given similar meanings - wonder or surprise. However, the words have very connotations. One has a spiritual dimension, one a physical. English, as far as I know, does not have two separate word that have the same surface meaning, but different nuances - driving home the idea yet again that the English language is limited, particularly in its spiritual/ metaphysical vocabulary.

Even ghazals and poetry in Indic language cannot be justly translated into English. Nor can they be readily understood by a non-native speaker without study. When you think of how the world is rapidly losing its languages and immigrant children around the world, particularly in English speaking countries, are failing to learn their native tongues, there is an important question to be raised about how much of the world's cultural heritage we are losing.

I have been blessed in this aspect. I was raised in a home where Gujarati was and still is spoken today; I was taught Gujarati by my grandmother and continued to study it and earn academic credit for it through high school and have the opportunity to visit and live in Gujarat where I can practice my Gujarati to this day. I still remember the praise my siblings and I would garner after trips to India on the quality of our Gujarati.

But this is still not enough. My reading skills are on par with a small child and my spelling errors know no bounds. I know that at some point in my journey to learn and explore philosophy, particularly Indian philosophy, I too will need to go the way of the foreigners learning Indic languages. If I want to be able to make my own interpretations and develop my own understanding without an intermediary, who to some degree always inserts their own bias or understanding, I will have to vigorously learn the language. Until then, there shall be some handicap, which I continue to try to overcome by expanding my vocabulary and fluency.

Importance of Education - Story 1

A re-occurring theme as of late has been the power of knowledge and the importance of education as a mechanism for change.

One of the most imprinting experiences I had in Canada this past trip came rather unexpectedly. Every time I come to Toronto, which is quite infrequent, my little cousins (now 7 -12), repeatedly request my parents to have me stay at their home, making their case well before my arrival. My schedule and their school schedule generally clash dramatically meaning that during the previous two trips, I only spent about an hour or two with them. This time, I had window of free time, which I decided to spend with them.

As I went to pick them up, I recalled a previous trip, where they had shown me their mini-fridge full of junk food. I remembered the horror I felt in learning of their excessive sugar consumption and decided to inquire more about their eating habits this time and talk to them about healthy eating.

When I arrived at their door to pick them up, I waited as the eldest handed my uncle a diagram depicting the order in which the layers of lasagna were to be placed so that we would have a correctly assembled meal for dinner. After everyone was seat-belted in the car, I asked them about what they ate. Knowing them to be picky eaters, I was super surprised at what I heard.

The three of them proceeded in turn to tell me about their fruit and vegetable rich diet and their lack of chocolate consumption over the last two years.

"Did you see our fruit bowl?", the youngest asks.

"Right now we have clementines, apples and bananas. Every day we have at least 2 fruits for dessert and another fruit for a snack," the middle one explains.

"Okay, so you eat healthy food for lunch and dinner, what about breakfast?"

"Well, we both eat Cherrios, but HE doesn't like them. He eats Fruit Loops and Lucky Charms," says the eldest matter-of-factly, referring to the middle brother.

"Fruit Loops! and Lucky Charms?!" I exclaim.

"We tell him they aren't good for him, but he doesn't listen. Actually in school, they asked us to bring in our cereal and we tested them for sugar levels and nutrients and those cereals were the worst," the youngest adds in.

That's when I realized where this all was coming from. Through school and the child care programs, my cousins were learning about healthy eating. When they were in daycare, I remember the meal plans they were sent home, but that is a standard practice. In the US in particular (I personally don't feel its as bad in Canada), general obesity and child obesity rates have been on the climb. One reason cited is the increased child consumption of junk food and processed food. I was encouraged to hear that the school system was fighting back by teaching kids about healthy eating. They not only taught children, but brought the discussion home to the parents during parent-teacher meetings and letters. I was getting a chance to see the results in person.

I joined the girls in explaining to my cousin why he shouldn't eat Fruit Loops and Lucky Charms. We got him to promise that he would stop eating them and all three decided to tell their dad about buying better alternatives instead (as they don't go cereal shopping with him).

As you can imagine, I had a huge smile on my face throughout that conversation with my cousins. But the best part was yet to come. For dinner, we had lasagna full of mixed vegetables including peas and carrots. Again, the topic of fruits and vegetables came up.

"You better finish all those vegetables, don't just eat the cheese," I told them.

"Give her more peas," the brother says pointing to the youngest, who happens to wear glasses. "They're good for her eyes."

Her reply was icing on the cake.

"You're wrong. Beta carotene is good for your eyes and carrots have them, not peas. And anyways, I took extra vegetables"

Rhythm Riders - world of tabla, indian music and dance

As Rhythm Riders continues to grow, there have been lots of changes happening, including a makeover of our electronic presence. We've launched our newly-designed website. Please check it out at www.rrmproductions.com. It'll give you more information about the wonderful people I work with and the amazing environment of music that I am blessed to be apart of.

Tabla Ecstasy and Jindidi chale Canada

In October, I returned back to Canada to welcome the Rhythm Riders family to my birthplace. The leaves had started to change colours in preparation for their arrival, ready to display the beauty of autumn and the wind had picked up to give them a cold Canadian welcome I suppose.

It was a busy, super successful and fun-filled trip. I got to show everyone the place I called home for so many years. Most members of Tabla Ecstasy were in Toronto for the first time. In the months before the trip, I, along with those who had been to Toronto, had been preparing a list of things that we had to do. We crammed in as much as possible in the limited time between rehearsals and shows. The reactions were exactly as anticipated. It was a joy to share so much in those few days. Watching them take everything in made me appreciate the common sights and sounds I often take for granted.

On the music side, the trip was a HUGE success. All the audiences were left spellbound and appreciated the artists with standing ovations. We had a great mix in the audiences we performed for - from true listeners of Indian classical music/dance to completely untrained ears, who had come to show out of intrigue - and the response was overwhelming. New connections were forged and the concert organizers all offered their support for future tours. On the personal front, people from my community got an even better idea of what I am aiming for as they heard Tabla Ecstasy and began to understand the level of tabla playing that I am striving for in order to turn professional (and of course through Guruji they see what is possible even beyond that). Jindidi impressed as always with her wonderful Kathak performances.

The tour had been planned for months, but it went by in a flash. There were many lessons, great fun, tons of memories and of course, lots of pictures. I got a new DSLR right before the tour and managed to get some great shots of the concerts. The tour would not have been possible without the support of a lot of people and I especially have to give a huge thank you to my family and family friends for going out of their way to make this trip special for everyone. When seeing everyone in action, particularly my parents, I am reminded time and time again that my own drive to help others was instilled in me through their example.

Colours of Light

As I prepare to make a rangoli outside my apartment to welcome in the New Year tomorrow, I remember a Diwali from three years ago that I will never forget.

Happy Diwali and Saal Mubarakh!

~~~~~~~~~~

It was Diwali. During the five days, women draw beautiful images outside their homes with coloured sand, rice and grains (called rangolis) to decorate their homes and welcome the new year and visitors.

Over the few months that I had spent volunteering, I continually was awed from the wonderful rangolis that a colleague of mine created for various occasions. His work always brighten the space they are in and the people that see them. Inspired by their beauty, I decided try my hand at rangolis. These beautiful works of art would be a wonderful way to express my gratitude to the many people who have showered me with their love and affection. As is the experience of many NRI volunteers in India, I felt humbled and immensely indebted to the many caring souls that went out of their way to make me feel at home in Ahmedabad, a place miles away from my birthplace in North America.

Arming myself with bags of coloured sand, I first practiced outside the volunteer home where I was staying. After a few tries, I felt confident in my work. As I made my way from home to home, I could not contain my cheer. As I spread the sand, I silently gave my thanks to each individual and prayed that the new year brought new hope and prosperity to each. At every home, the children would crowd around welcoming me with their smiles and watching intently as each rangoli unfolded. Each then added their own touch to the final piece and we created a colourful display full of love and good wishes.

Such a simple thing brought so much joy to all. The small grains of sand became colours of light and were the perfect way to celebrate Diwali and welcome the new year.

Power of One

In a previous post, I wrote about one of the two steps needed to preserve Indian classical music, which was to cultivate an audience. I wanted to share an experience or realization I had last year that reminded me again that one person does have the power to change things.

In Oct 2008, I returned to Canada for the first time in over 2 years.

A lot had changed in those two years. When I had left, I had left with the intention to return in a year or two to start a master/phD program in Environmental Engineering. Alas, life had taken me through twists and turns and I was returning with a new goal in mind, something I could have never fathomed - to become a professional classical tabla player.

Over the previous year, family and friends had gotten pieces of information with regards to my career change and it didn't make a lot of sense to many. The reality was that I come from a community that does not have a large majority of Indian classical music listeners. While cliched, it was true, generally Gujaratis are more enthusiastic about folk music than classical music. In fact, a lot of people in our family friend circle did not even know who Zakir Hussain was, who is considered to be one of the most well-known Indian classical musicians and tabla players of our time. In this scenario, it was understandably difficult to find many who understood what I was doing or why I was doing. But, I must also include here that even though they didn't understand, they were be as supportive as possible.

The trip to Canada was important in many ways. It was a chance to explain firsthand what I was doing and why I was doing it.

A few months before I came to Toronto, I had performed my first solo, after 9 months of training, at Rhythm Riders' annual Guru Purnima function. Of course, I have lots of work to do, but it was nonetheless an important milestone for me. Soon after the performance, my tabla solo video was posted to Youtube as most of the people who wanted to see it were not in Ahmedabad for the performance. The outpouring of support and encouragement was incredible and hugely motivating, but it was only one step.

By the time I came to Canada, most had seen the video or heard of it. For many, watching my solo was the first time they had listened to a classical tabla performance. People were really impressed and asking about when if I would be performing concerts in Toronto during the trip. While the enthusiasm was incredible, it was midguided in the sense many understood what was very much an amateur performance to be one that could be quickly developed into one that could be put on a professional stage.

As I would explain how I had many years to go, I began to realize the wonderful opportunity I had in front of me. The reality was that many who watched my solo, watched it not because it was a tabla performance and they were interested in tabla, but they watched it because of me. They wanted to see what I was doing and were being supportive of my endeavours. Now I have the opportunity to open up the world of Indian classical music or atleast tabla playing to them.

I don't expect that everyone is going to turn into an Indian classical music lover, but I do know that many will grow in their understanding of the music. As they follow my progress, as they watch me grow from solo to solo, they too will begin to discern on some level the differences between amateur and immediate, advanced and professional. Through my personal journey, I have the chance to change the world around me in some small way.

The epitaph on an Anglican bishop's tombstone is very appropriate here:

When I was child, there was no limitation in my mind. I dreamt to change the world.

The more I grew up and tried to wise, I realized impossible to change it. And I decided to reduce my dream even a little and change my own country only but It was still impossible.

When I would an old man, in the last effort , I tried to change my own family. They were close to me. Unfortunately They ignored me.

And when I was dying, I realized (maybe for the first time) if I changed my self long time ago, I influenced my family by my examples and they’re supporting me, maybe could make my country be a better future and who knows, I could change the world.

My Tabla Solo Performance at Guru Purnima

Thank you thank you thank you for all the support, love and encouragement. Here is installment number 2 of my tabla journey (this is a year after my first solo). I played a pure Delhi Gharana solo.

Astrological Charts (Kundali) - Meaningless or to be Heeded?

A friend and I were recently talking about marriage and philosophy, etc and of course the inevitable question came up. Its a question I've been asked a lot. It makes its way into conversations about dating, marriage, arranged marriage, etc. Do I believe in matching kundalis (vedic birth charts)?

For many years, my answer was along the lines of Yes, I'll consider the matching because I've seen too many relationships between people with mismatched kundalis fail. I didn't really have a great reason why to believe or not to believe and since I had seen the power of spiritual practices firsthand in my life, I chose to give consideration to kundali matching.

Now I have more concrete reasons to consider matching vedic birth charts. Many might not be aware, but my Guru (Pandit Divyang Vakil) is not only a maestro of tabla and a brilliant tabla teacher, but also a spiritual healer and guru. His vast expertise is a treasure chest for me and my questions.

Guruji uses many different tools in his spiritual healing including vedic astrology, face reading, palm reading, vastu, tantra, numerology, occult powers, etc. He has stacks of vedic birth charts of his students that he uses, so who better to ask about vedic astrology.

Here is my understanding in a nutshell.

Ancient Indian civilization has given us a plethora of tools to provide guidance and help us make informed decisions. Everything is connected to each other (think butterfly effect) in some form or another, but the vast intricacies can be too much for us to comprehend. Each methodolgy serves as a guide. Sadly today, like with many traditional arts, there are many with minimal or no knowledge masquerading as experts who have at some point tarnished the image of effeciency of these methods.

Kundalis are a highly specific science, a person's kundali is very particular to the person. It is based on the birth time, birth place and name of the person. Small inaccuracies in birth time (on the order or 1o minutes) can change a kundali. (The debate over what time is needed - ie when the head appears or whole body is out is another topic).

A person's kundali tells you about the influence of planterary movement on a person's life. It gives various details about a person, including details about their personality, high and low points in their life, etc. The kundali itself is very scientific (and computer generated nowadays) and is incomprehendible to the common man as its speaks of planets, their locations and more. So results that you get from getting a kundali made are highly depended upon the interpretation of the chart. This is where the master is set apart from the amateur.

A common use of kundalis is to see good and bad periods in a person's life. I'm sure that there are times that you have felt that nothing is going right, no matter how hard you try. It is likely that your kundali would reveal that you were passing through a negative period (and there are different types), in which it would be difficult to see the fruits of one's actions.

By knowing these kinds of details, a person can make more informed decisions. For example, if the above period was occurring in one's life, it does not make sense to start a new venture at that point. It would be better to wait the few weeks or months for period to change.

Generally, when two people's kundalis are matched, they are paired together for over 30 different criteria. Each criteria gives a positive or negative result. A range of positive results is considered a good match. A perfect score is not a good match.

As a kundali also can provide an overview of the graph of a person's life, one can also examine how much trials/tribulations a potential spouse will face.

Like I said before, a kundali is only a GUIDE or indicator, not the final word, which is what many interpret it to be. The accuracy of a kundali is very much dependent upon the details used to make it, its maker and interpreter.

In general, after living in India, my respect for traditional arts (and sadness at its erosion and impending loss) has grown. Vedic astrology is one of the many that can be put in this list. It most definitely has its value and I don't think it can be passed off as a meaningless belief. It is a tool that has been created by extremely intelligent people to help man make better decisions. It should not be followed blindly, but without a doubt has value.

Would I consider matching janmakshars before marriage? Without a doubt, yes.

Would I heed the advice from the matching? That shall be a matter of circumstance.

Intuition/ Creativity

Yesterday Guruji was teaching us about what intuition is or the source of creativity and a wonderful line from his lecture has stuck with me.

The cosmic energy whispers to you in the silence between two thoughts.

Preserving Indian Classical Music Part 1: Creating an Audience

One concern that I have seen come up regularly is the about the future of Indian classical music. As maestros pass on, there is a growing lack of artists who can be compared to their Ustads. I won't tackle the question of why Indian classical music is dying, but rather will look at what can be done to ensure that it is preserved. The answer I believe is two-pronged. Musicians have to be cultivated and just as important, audience have to be cultivated. For the music to continue, there is must be people who can produce it and those who shall appreciate it and listen to it.

Audiences are most definitely changing. Only 20-30 years ago, a music concert by one artist could very easily be 3-4 hours long. Today in a span of a 2 hour concert, two to three artists will perform solos. Guruji often speaks of concerts that began at 8pm and ended in the wee hours of the morning. No one would move, let alone get up to get water or use the restroom during a concert, that was the level of involvement of the listens.

To listen to Indian classical music requires training. I am a perfect example of that. When I first began learning tabla, I knew VERY little about Indian classical music. When we would gather for music listening sessions with Guruji, the other students would be completely engrossed, reacting to taans and the way an artist render a raga, while none of the nuances were registering for me. I would catch myself zoning out and I'll admit it - falling asleep. Even within a year that has changed. I still don't know all the nuances and don't expect to understand them all in a year, but my comprehension is increasing. I am beginning to appreciate the music and the artistry of the musician more; and I'm not falling asleep. That is called training. I am being trained to listen to Indian classical music. As musicians would say (translated) - m y ears are opening.

Another example of audience education can be given in a geographical context. Kolkatta is considered the heart of Indian classical music. The toughest and most discerning audience is found in this city. Amdavadis is comparison don't quite live up to the mark. What might appeal to the music audience here and having them show their appreciation might not invoke the same reaction in Kolkatta as the expectations are higher. Kolkatta audiences are more trained. This is not surprising as the city is and has been home to many high quality musicians.

Training an audience will not happen on its own. It requires a concerted effort and is a valuable endeavour. If audiences are not trained to distinguish poor from mediocre, good from excellent, the artist has one less reason to push themselves to become better and better at their art (where this is the correct thought process or not is a different topic). When you gain widespread appeal for subpar or mediorce work, the market incentive to do better disappears.

The question then arises of how? Well, its not easy. Getting someone who only listens to modern Bollywood music (which can be quite poor in musicality) to listen to an alaap of Bhairavi is not going to happen overnight. But in small amounts, an appreciation can be created. One can say that today's well-done fusion that incorporates Indian classical music is one way of training in small doses, but it has to continue from there.

One way that Guruji has tried to tackle this issue is through his contemporary tabla ensembles, which we call "tabla fusion". Why tabla fusion because tabla traditionally is not performed as group so the presentation style is different. Also, the compositions, which are all his own, are made keeping a mainstream audience in mind. So you have all the facets of tabla playing that will make the common man give appreciation. BUT at the same, the essence of all the compositions is classical tabla playing. The intricacy and difficulty of the compositions is such that only his senior disciples can play them. The nuances of classical tabla playing are all intact. The presentation style though is such that even a person who will run at the name of a tabla solo concert will be asking when the next ensemble performance is. It is after all, 2 -5 tabla players playing super fast pieces in complete synchronization. Imagine the power of 5 tabla players playing dha at one time. (If you don't want to image, watch the video of his latest tabla ensemble - Tabla Ecstasy). His ensembles have performed all over and its a common response to see people inspired to learn tabla or come to tabla performances afterwards.

So how can audiences be created? By education, by exposure to this music. Its as simple as one person encouraging their friends and family to come to a show, giving them music to listen to. More concerts, more workshops, more access.

The benefit of the virtual world is that it has made it easier to find music, there are videos all over youtube, etc; but it has to be filtered. Again, poor should not be passed off as good. How can you tell? By building your personal database (mentally) by listening to more and more stuff and hopefully having a more educated ear to guide you. As you listen to more, your references grow and hopefully your discerning abilities as well. But ultimately, I think you do need a guide to this world of music to educate you about it.

A concerted effort has to be made to bring and keep Indian classical music in the forefront of society's music preferences. If the audience demands it, high quality Indian classical music can continue for a long time.

Indian Classical Music Listeners India vs Abroad

An interesting observation from some interactions this month. If you ask a group of Indian youth how many listen to Indian classical music, you won't get many positive responses. When I posed this question to some groups of NRI volunteers, the 70 - 80% of the people were familiar with it and listened to it. That is really encouraging and great to know.

Weeklong Indian Music Workshop in India!

Its a common thing to hear that people are interested in Indian music, want to understand it a but better, but don't have the time to dedicate themselves to a full study of it. Here's a great program for those interested in learning about Indian music. If you are already practice Indian music, its a way to deepen your understanding, learn from Guruji (Pandit Divyang Vakil), work with the world fusion group Taan and Rushi and jam with musicians from around the world for a week!

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Intrigued by Indian Music?

Want to learn how use Indian rhythm and melodies?

Explore the vast world of Indian music in India

Rhythm Riders invites you to

1 Week Indian Music Workshop in India

Dec 20 - 27, 2009 in Ahmedabad, Gujarat

*Experience India through its music

*Explore Indian music, from its classical and folk to its contemporary forms

*Nightly jam sessions and concerts

*Learn to adapt Indian Music to your own music and instrument

*Special workshops on Indian percussion

*Special lectures with Tabla Guru Pandit Divyang Vakil

Final Concert Performance with World Fusion Group Taan

Open to musicians from around the world

instrumentalists and vocalists of all music genres welcome

Fees cover teaching, accomodations, local transportation, food and events.

**Airfare not included**

Register by Sept 30th, 2009.

Contact Rhythm Riders at manager@rrmproductions.com
or call (201) 467 4431

For information on Rhythm Riders, visit www.rrmproductions.com