Tales of South India

Meanwhile, in a Small Sliver of South India...

Last evening, my husband and I were at the Asia Society in New York, to attend a reading and performance by William Dalrymple and Vidya Shah and her orchestra. This event was arranged in conjunction with the Society’s current exhibit on Princes and Painters in Mughal Delhi, 1707-1857. The evening was, for the most part, interesting and entertaining. Dalrymple’s narrative, drawn largely from his book, The Last Mughal, was studded with entertaining anecdotes that brought his characters to life. Vidya Shah complemented and supplemented his stories with songs and poetry from the great and little-known poets and songsters of that era.

Infinite Beauty

On the last Tuesday of January 1913, on a clear, cold winter’s morning in Cambridge University in England, a 35 year old mathematician of rapidly growing fame and esteem opened a letter. The letter, thick and unwieldy, bore the grime and wear-and-tear of a long journey, and a ragged line of stamps, unfamiliar and exotic. It started with the words, “Dear Sir, I beg to introduce myself to you as a clerk in the Accounts Department of the Port Trust Office at Madras on a salary of only £20 per annum............”

Another Time, Another Place

Many moons ago, in a now nostalgically-remembered era when cell phones and iPods were a rarity, when people wrote and spoke in full sentences and looked each other in the eye, when food was merely food, when men and women could agree to disagree politely without shouting each other down and when human beings walked around being themselves and were not defined by a thicket of labels, in that long-ago time, I was a pawn in a corporate American arena.

The Street Wall Journal

For as long as I can remember, the walls abutting the streets of my beloved Madras have been a canvas, a battleground, for all manner of posters, paintings and graffiti. Depending on my inclination and mood for the moment, I viewed those walls as riotously colorful, madly imaginative,often hilarious representations of the city's political and entertainment landscape, or as messy, garish, tasteless eyesores that defaced every inch of blank wall space. One look at those walls, and you got an instant picture - literally - of who was in power, and who was vying for it, with political party members and supporters falling over themselves to outdo one another in their fawning, often ridiculous depictions of their political leaders. Come election time, the poster madness rose to a fever-pitched frenzy, and they were often the only means by which many of the city's residents were made aware of who the candidates were, and what party they represented. Movie stars, gods and goddesses, mythological demons and revered, long-dead heroes of yore, all made their appearance on the walls of Madras, taking these already larger-than-life candidates into the glorified realms of the divine, the super-hero and the noble, or the vile, despicable and beastly. In America, television is the primary medium for election campaigning. In Madras, it was the walls.

A Junkie and a Monkey

Here is the Ramayana on drugs. It is a far cry from the black and white world of the evil Ravana and the squeaky-clean Rama, the pious Sita and loyal Hanuman. A Ramayana where a lustful Ravana, burned out on angel dust, kidnaps Sita, his mind clouded over by passion and desire. Where Rama and Lakshmana, wandering, frustrated and helpless up and down India looking for Sita, dull their pain with endless joints and pipes. And then Hanuman enters the story, a "hardcore ex-con tattooed" Hanuman who rallies his drugged-out monkey army with a big, happy substance abuse recovery-house reunion. What follows is a war - of monkeys and junkies, everybody high, everybody in a fog, in a fuddle, on cocaine, on LSD, a tangled disarray of tarnished minds and bodies. A war of relapsed junkies, and only Hanuman has the cure: the Sanjeevani herb.

A Meeting of Worlds

Recently, I attended an event at the Asia Society in New York, to mark the U.S. release of Namita Devidayal’s book The Music Room. This book – which I highly recommend – is a story of several musical journeys and lives: the author’s, from being reluctantly pushed into it by her mother, to the music becoming something that she could not live without, a source of solace in times of melancholy or trouble, an escape to a zone of serenity and beauty; that of her guru, the modest and reserved Dhondutai Kulkarni, who dedicated herself wholly to her music and never married, blessed with the voice of a nightingale, bearer of the keys to the magic, riches and glory of the Jaipur gharana of Hindustani music, yet who struggled to make ends meet, uncaressed by fame and fortune; of the flamboyant and theatrical Kesarbai Kerkar, she of dazzling musical brilliance, beloved and worshipped by hordes of admirers, male and female, inheritor of a precious musical legacy from the hands of the great maestro Alladiya Khan, who brought this style to life; of Alladiya Khan himself, and his gharana, distinguished by its lilting eloquence, seamless melding of double ragas, serpentine taans of filigreed intricacy and beauty, and variety of swara patterns.