A normal office day for Arundhati Ghosh of the IFA includes meeting artists, watching performances, films, and sharing ideas for the future. And she finds it all awesome

Every morning, Arundhati Ghosh wakes up to an urgent excitement. Each day, over 13 years, since she joined India Foundation for the Arts (IFA), has been a blood rush about what the day holds for her. “I know I am fortunate,” beams Arundhati, who, as Executive Director of IFA, spends as much time outside Bangalore as in the city meeting artists and prospective donors. “Normal office days are full of arguments, debates and discussions on trying to see things from various perspectives. Many times artists drop into office and share their work with us – films, pieces of performance work, research ideas, imaginations for the future…it’s awesome,” she beams.

This sense of seamless creative perspectives lingers. “One has no clue when evening has descended outside and it’s time for Mathukathe, where we invite scholars and artists who are passing by Bangalore to share their work with us to an interested audience. So the office transforms one evening into a space for a chamber concert, on another to a movie hall and on yet another day, a workshop space for children,” says Arundhati, adding, “We put up fundraisers and showcases of the work of our grantees for public and donors to view. These are times of great excitement and I feel very proud to see the entire team at IFA put in their best to make these events meaningful and enriching.”

Such is Arundhati’s life, and if there are shows to engage herself in, she is home by 8 pm. “I have a large family of friends strewn around the world. My home belongs to many of my friends and most often, there is someone or the other staying the night. A lot of my own writing and reading happens after 11 pm. A few hours of intensive reading, writing, sharing and then it’s time for bed around 2 or 3 am. I treasure those solitary hours at night and zealously guard that time for myself,” she lets in.

Marks and musings

Into the wee hours, pulling a page out of a book from her shelf, Arundhati finds underlines, marks, musings and calluses on its body from use by friends from different parts of her life, at times by people she doesn’t even know. “Often, those marks are made by me at another time and space, perhaps. They carry more stories than what is written on the page. Some of those stories I cannot even remember,” she says.

Off the shelf, life is a journey and IFA marked the end of Arundhati’s tenure with the corporate world. “When I had finished almost a decade in the corporate sector moving between advertising, marketing and running a tiny company, I had very little to look forward to. The end of that relationship left me feeling like a bonsai, frustrated at the emptiness of life, irritated at its inability to feel either my intellectual curiosity or emotional vacuum. I was always drawn to the arts — I was a dancer once and had done my masters, wrote a little bit of poetry, watched films and theatre by the dozen and read till my eyes hit minus 9s. IFA happened to me quite suddenly serendipitously. I met Anmol Vellani, the founder and then Executive Director of IFA who hired me at one-fourth my current salary as IFA’s first fundraiser in 2001.”

“I have no idea what he saw in a frustrated, proud, young girl who knew nothing of the arts world. Over the years, I learnt so much from him about this complex world of the arts and culture, about organised philanthropy, about the politics and dynamics of funding and how to run an independent funding organisation. He created and led IFA for 18 years and then I was given the responsibility when he retired last year to assume office as the Executive Director of this foundation.”

In step with her role, with a song in her heart Arundhati talks of how, through the arts, we understand our yesterdays, make sense of today and imagine our tomorrows. “Through the arts, we bond and heal.”

source: http://www.thehindu.com / The Hindu / Home> News> Features> MetroPlus / by Nirmala Govindarajan / Bangalore – July 22nd, 2014

Mysore :

The Annual General Body Meeting (AGM) of The All India Anglo Indian Association-Mysore Branch was held in city recently.

MLA Vinisha Nero, speaking on the occasion, called upon the members of the Association to be united.

Richard M. Sherwood, President of the Association, said that the association was still growing because of the love for the community, commitment for the community and also for the care taken towards the weaker section of the community.

He called upon the youth to come forward and give them a helping hand. The community youths were urged to join the committee to reduce the burden of elders. Young achievers were requested to provide their passport size photographs to be published in the review, parents and scholarship holders were urged to continue to be the members of the Association.

Henry C. Dove, Treasurer of the Association, proposed vote of thanks.

Vice-President of the Association Brenden Taylor, Secretary G.A. Edwards, Committee members Jude Daly, Christine Daly, Loretta Correya, Maureen Ann Taylor, Melody ‘I’ D’Souza, Charles Lewis, Irene Marie Dove and others were present.

source: http://www.starofmysore.com / Star of Mysore / Home> General News / July 18th, 2014

by Dr. Rama V. Bennur

The trend of Kirana Gharana is silently spreading in Karnataka. After the legendary Sawai Gandharva, Bhimsen Joshi and Madhava Gudi, it is the turn of Nagaraj Havaldar of Bangalore. His son Omkarnath Havaldar learnt both from his father and Pt. Madhava Gudi. A dedicated student who is committed to music, Omkarnath is pursuing Dhrupads from Pandit Indudhar Nirodi of Mysore. He has many accolades to his credit that prove his merit. Bestowed with a soft and attractive voice, Omkarnath is rich in creativity.

On the occasion of Guru Poornima (12.7.2014), he gave a Hindustani classical vocal recital at the Suttur Mutt, which was also a part of ‘Moonlight Music.’ Samir Havaldar and Kedarnath Havaldar accompanied him on the Harmonium and Tabla respectively. All the three young enthusiastic musicians successfully captured the audience for nearly two-and-a-half hours.

Omkarnath chose Rag Marubehag as the opener. A short alap, as is the tradition of Kirana Gharana which started from the Nishada of the lower octave (Mandrasthayi) gave a brief introduction of the rag and he quickly proceeded to the famous bandish ‘Rasiya Aavona’ in vilambitkal. The different shades of Marubehag came alive in a very leisurely manner. The sargams had many permutations and combinations that added colour to it. The melodic combinations of swift and clear akaars made it more interesting. Dhruth reached its crescendo in the lyrics ‘Tarsaagayimoorenainva.’

It was Rag Natmalhar that he chose to sing next though with a short alap. He handled the tricky notes confidently and succeeded in bringing the Rag Bhav in a short span. (Any Rag that belongs to Malhar group is connected to rain or supposed to make it rain). ‘Karuniso Rangakaruniso’, ‘Akkakelavva nanondu kanasakande’ are immortalised by Pandit Bhimsen Joshi and Mallikarjun Mansur. Omkarnath presented them with due respect and vigour. Young Sameer and Kedarnath rendered full support to the vocalist.

Basavanna’s vachana ‘Neenolidare koradukonaruvudayya’ and Purandaradasa’s ‘Baarebhagyada nidhiye’ were pleasant to hear. Another noteworthy experiment was a translation of a Marathi abhang which he managed to sing in both the languages. ‘Maazamaaheri Pandari’ which changed to ‘nannatavarurepandari’ was quite interesting.

Raaga Vaibhava

The unique cultural organisation of Mysore ‘Raaga Vaibhava’ celebrated its 10th anniversary by presenting two grand concerts at the Vasudevacharya Bhavana in city on the 12th and 13th of July. A souvenir was also released on the second day by their patron M. Jagannath Shenoy that was followed by a memorable concert by Vidwan P. Unnikrishnan and party. Adithi Krishnaprakash on the Violin, H.L. Shivashankar Swamy on the Mridanga and Phaneendra Bhaskar on the Ghata accompanied him respectively.

Vid. Unnikrishnan is known for his melodious voice. He has even won a national award for his playback singing. (Very few classical singers have entered this arena of film music). However, despite the diminishing lustre in his voice, he enthralled the listeners with pure classical saga. His rich and matured manodharma came alive in every raga alapana and kalpanaswaras. The very beginning was not the usual Varna but ‘Mayateetaswaroopini’, a composition of Ponnayya Pillai in the raga Mayamalavagowla set to Rupakatala. The pace was perfect and the rendering was filled with enthusiasm.

A fantastic neraval at ‘Mayamalavagowla sheshamuna’ enhanced the raga bhava and was followed by rigorous kalpanaswaras. The 70th melakartha raga Nasikabhushini differs from Vagadheeshwari in just one note-Madhyama. It has prathimadhyama while vagadheeshwari has shuddhamadhyama. But the result they produce is something stunning. One has to be versatile in handling these ragas. Unnikrishnan surpassed in the detailed alapana of this fantastic raga Nasikabhushini. Muthuswami Dixitar’s immortal Kruthi “Shree Ramaa Saraswathi” was flawless followed by sarvalaghuswaras.

Yet another detailed exposition of the raga charukeshi was a feast to ears. The phrases were sparkling with innovative ideas that brought new flavour to this ancient raga. The clarity in both the speed and the birkas are striking in his rendering which is effortlessly brought in the manodharma part. Swathi Tirunal’s composition ‘Krupayapalayashoure’ set to Misrachaputala was also enjoyable.

After ‘Paraakumaadade’ of Purandaradasa in Saveri, Unnikrishnan took up the main raga of the day Keeravani. The appropriate gamakas and embellishments unfolded the very soul of this heart-touching raga. His control on the breath was astonishing. The melodic combinations were aesthetically satisfying. Tyagaraja’s ‘Kaligiyunte’ with a neraval at “Baaguga Sri Raghu Ramunipadamula” had a cascade of kalpanaswaras. Young Adithi was at her best and breathed life into every raga she played.

The rest of the concert included ‘Pibare Ramarasam’, ‘Yakenirdayanadeyo.’ ‘Palukebangaramayina’ and ‘Rama Rama Seetharama’ which were rendered with bhakthibhava .Shivashankaraswamy and Phaneendra Bhaskar also gave good support to the vocalist.

source: http://www.starofmysore.com / Star of Mysore / Home> Feature Articles  / July 21st, 2014