S R Ramakrishna's Blog

Monday, August 25, 2014

U R Anathamurthy: Colossus who articulated our dilemmas


U R Ananthamurthy, the celebrated Kannada writer who passed away on Friday, completed his last book just before he was admitted to hospital two weeks ago. Despite his frail health and advanced age---he was 82--- he remained a raging public intellectual and a passionate writer till the very end.
Udupi Rajagopalacharya Ananthamurthy studied in a Sanskrit pathashala, and grew up in an orthodox Brahmin mileu. He spoke impeccable English, obtained a PhD from England, and taught English literature throughout his career, but just wouldn’t write in that language. Inspired by the philosophies of Gandhi and Lohia, he believed the Indian writer should express himself in an Indian language, and reach out in a democratic rather than elitist manner. At the same time, he was a crusader against populist writing, and was happy with a small readership for his evocative fiction. His formidable literary rival S L Bhyrappa, whom he denounced as rightist, sells in fantastic numbers, often going into a new edition every day, but Ananthamurthy’s politics never veered in that direction.

Although he wrote poetry, non-fiction and criticism, his novel Samskara perhaps remains his most famous work. It explores how caste dogma and religious scholarship play out in the face of the death of a Brahmin apostate. The book was later made into a pioneering film that inspired many Indian languages to look beyond their escapist excesses. Samskara also intrigued some of the world’s most incisive minds. Erich Fromm, the German psychoanalyst, and V S Naipaul, the Nobel laureate, found in it fascinating revelations about the Indian mind.

Nominated for the Man Booker Prize in 2013, and honoured with some of India’s biggest awards including the Jnanpith, Ananthamurthy has examined and reexamined the country's biggest dilemmas since Independence. He asks many questions: Are Brahmin and Shudra irreconcilable categories? Is English-medium education impoverishing our emotional lives? How can we retain our self-respect in a post-colonial, globalised age? Are city-slickers destroying our future in the name of development? On many of these questions, Ananthamurthy’s arguments have infuriated the ‘aspirational’ middle-class. Lovers of Indian literature believe he had few peers as a teller of sensitive stories. With his passing, India has lost a literary colossus and provocateur, and a supporter of many causes.

Tuesday, May 21, 2013

UR Ananthamurthy: Life and times

Kannada writer U R Ananthamurthy is a Man Booker Award finalist. That's thrilling news for lovers of his writing. I met him in late 2012 when his autobiography was being proofed. I went to his house to interview him for Talk, the weekly magazine I used to edit. It had been about 15 years since I had last met him, but he remembered me, and spoke warmly. Here are excerpts from his autobiography that I translated to go with the interview.

The hypocrisy of Indians
We accept many beliefs without questioning them, and start propagating them. It is possible here to be a revolutionary and a part of the establishment at the same time.

When the Congress declared an Emergency, the CPI helped them along. One could simultaneously be a communist and a supporter of the ruling Congress.

Most Indian intellectuals are like that. In those days (the 1970s), if you asked those talking revolution which country they would like to visit---US or the USSR---they would choose the first. That’s because there was no warm water in the Soviet Union. No room heaters either.

India’s biggest problem is hypocrisy. It has taken root deeper than we imagine.

When the Janata Party came to power in Karnataka in 1983, many of us found it possible to balance out our lofty principles with our proximity to authority. It is difficult to proclaim that our actions were free of selfish motives.

A good number who came looking for me, in the knowledge that I was close to Ramakrishna Hegde and J H Patel, no longer remain my friends. Thanks to my obliging nature, I became a medium for their vested interests.

I didn’t touch any money, but I am troubled that I witnessed corrupt acts without uttering a word. A mind that hesitates to say what must be said becomes corrupt. The Janata alliance that took on Indira Gandhi was the creation of an affluent class.

Meeting George Fernandes
Before the Emergency was imposed, I had written a review of the novel Gati Sthiti (State of Affairs) by Giri.

I received a huge envelope by post some days after the publication of my review. It contained another review of the book, and criticised some of my observations. I couldn’t make out who had written it. The letter was in Kannada and English.

“Come and meet me in Bangalore at once,” it said.

After a while, I guessed it was from George Fernandes.

He had tried to organise a huge railway strike just before the Emergency, and failed. The police were looking for him, but he had slipped away. All the other big leaders of the time were already in jail.

Shivarama Karanth told me: “Only those who have participated in the 1942 movement might know what to do in these difficult times. George is a follower of Jayaprakash Narayan, isn’t he? He must be active in the underground movement.”

It occurred to me that I should contact my friend Pattabhirama Reddy and his wife Snehalata in Bangalore. They were inspired by the socialist leader Rammanohar Lohia, and had turned my novel Samksara into a film.

When I met him, Pattabhi took the envelope from me, winked, and said, “I will take you to George secretly”.

The two of us got into a car one evening. “Good not to know where you are going. Blindfold yourself. Even if the police torture you, you shouldn’t be able to tell them where you met George,” he said.

We drove for 45 minutes, reached a decrepit church and walked into a dark room.

George was sitting on a cot. He was unrecognisable. He had grown his hair and beard long. I went up to him and touched him. He embraced me. George’s younger brother Lawrence came in. He looked older than George. He had a lunch box in his hand.

As we sat talking about his family and mine, worms dropped on us from the roof of the church. George was pulling out the kambli hulu (palmer worms) and scratching himself all through our conversation. He gave me a mission with these points: Snehalata had to go to a rarely used lavatory in Vidhana Soudha. One night, making sure no one was around, she had to explode a bomb. I had to provide some youths to help her. The explosion had to bring down a portion of the Vidhana Soudha, but not kill anyone.

Our objective was to hassle the government, and not to inflict violence on anyone. The government was convinced it could get away with anything, and people wouldn’t protest. If such subversive incidents took place every now and then, terrified citizens would feel reassured that something was afoot to dislodge the government. It was our duty to protect the people’s will to resist. We had to find a bridge there, and a government building here, and bring them down with dynamite.

If none of this was possible, my friends and I had to undermine the government in the manner of those who had resisted Nazism in Hitler’s Germany. We had to drop burning cigarette stubs into post boxes. That would force the government, as it had in Germany, to post a constable at every post box.

We came back after this conversation. I blindfolded myself even on the way back.

A constable always stood guard at the toilet, making it impossible to place a bomb at the Vidhana Soudha. I returned to Mysore, and with friends like Devanoor Mahadeva, tried to drop cigarette stubs into post boxes. The stubs burnt themselves out without causing any damage.

George showed the same courage as Subhas Chandra Bose, and is a big hero of our times. We believed he was fit to become prime minister. But what happened to him later is difficult to digest.

He never became corrupt for money, but went to Gujarat after the violence, and came back as if nothing had happened. I could never understand this. Perhaps the desire to remain in power had corrupted his revolutionary mind.

The central minister who refused police escort has now lost his memory, and lies bedridden.

Esther and home tuition
My wife was a little girl sporting two plaits when I saw first her as a student in Hassan. She came over to my house for private tuition. When she sang a film song at a college event, it brought tears to my eyes. She sings well even today.

I had given her class an assignment: ‘Describe someone you like or dislike.’ She had written about me, making fun of my gestures and teaching style. The girl in plaits who could write this way about her lecturer had ignited my curiosity and interest.

The first door of my romantic world opened when I realised she could speak about me with such abandon. I didn’t want a girl who would adore me; I wanted a companion. I fell in love with the girl who came to me on the pretext of taking tuition. She was then just 16 or 17. I developed no physical intimacy with her. She was at an age when she didn’t know enough about the world’s ways, or about right and wrong. She interacted with me in all innocence. When she invited me over to her house, I felt I was entering another world.

Esther was one among many students who came for private coaching. While the others paid me a fee, Esther gave me her guileless love.

In those days, I liked keeping fish. A student had brought me some fish, which I had placed in a glass bowl. I was often lost in observing their movements. This would make Esther livid. “What are you doing there? Can’t you come here and do some lessons?” she would snap. She was outspoken even in those days.

My sister wasn’t married yet. I knew it would be difficult to find her a bride if I married out of caste. I had to wait a long time even after I had decided to marry Esther.

I went to Mysore after teaching for some years in Hassan. My mother was with me then. When she came to know about my relationship with Esther, she was upset. She would suddenly lose consciousness and slump to the ground. She would also complain of pain.

When we took her to a doctor, he diagnosed it as a mental illness. She was tormented during this period. As a little boy, when she went to the hills for her ablutions in the morning, I would scream, “Amma, are you dead or what?” and keep crying till she called back.

Her agony on my account was something I could not take. I despaired.

Death of my mother
My mother died in September 1995. A month before her death, I had taken a break from my work, and stayed in my brother’s house in Shimoga, where she was bedridden. Initially, she was conscious, but towards the end, she lay unconscious most of the time.

I used to sit by her side, talking, while she was still conscious. Anil was her favourite son. Being a doctor, he had fitted her with pipes and tubes, and struggled round the clock to keep her alive.

One day, I told him, “Let’s not keep her alive this way. Take away those things.”

I had gathered the courage to tell him that, and Anil needed the confidence. He did as suggested. I sat by my mother, held her hand, uttered a prayer, and said, “Everything is all right. You may go.”

Since she knew about Esther, I guessed she was apprehensive I wouldn’t conduct her last rites. I told her, “I will take the initiative and perform all your rites.”

She left us a couple of days later. I couldn’t sit on the floor, so I broke convention and sat on a stool. I performed her rites with my brothers, trying all the while to understand the mantras.

My mother treated everyone with affection, but had never given up her ritual sense of purity. She was not a modern woman shy about her Brahmin caste, or rather, her sub-caste.

When she heard the Pejawar swamiji had visited a Dalit colony, she was bewildered. I congratulated him as I felt he was capable of influencing my mother.

Oblivious to the depth of such beliefs, my fellow-writers ridiculed me. Such intellectuals have no desire to change the thinking of people like my mother. My mother wouldn’t give up her caste, but believed taking vows and praying to Muslim holy men would cure children of certain ailments.

The house that started a row
I didn’t have a house of my own. I applied for one in Mysore. Poet Krishna Alanahalli took me to someone he knew and said, “Give our teacher a site.”

He did. The site was like a lane. “I don’t want it,” I said.

Krishna took me back to the official and said, “Not this one, give him another.” I got another site. Krishna liked me a lot, and said I should keep the first one, too. Afraid I would give in to temptation, I wrote a letter returning the earlier site. Krishna laughed at my foolishness.

By then, I had decided to move from Mysore to Bangalore. Award-winners are entitled to sites, and I got one during chief minister Veerappa Moily‘s time. It was a good plot, opposite a park.

Since we were about to come away from Mysore, I thought it would be better if we could get a house instead. When I mentioned this to my friend J H Patel, then chief minister, he said he would allot me a house in a colony originally meant for NRIs who could pay in dollars. I live in this house now.

Once the house was sanctioned, I returned my site.

Several people, under P. Lankesh‘s leadership, pounced on me, ignoring the fact that I had returned the site. A story about this first appeared in Lankesh Patrike. My utterly emotional and dear friend G K Govinda Rao demonstrated against me.

I wrote to Patel, requesting him to take back the house and give me the site again.

He tore up my letter and said, “Everything is legal, whatever people might say. If you don’t want this house, there’s another in my name. Shall I get it registered in your name?” I declined. Many articles appeared in the papers.

After some time, my detractors began to see the truth. Lankesh called up my house one day and asked Esther, “May I visit you?” She said, “Ask him,” and handed me the phone. I called him over. He arrived with a friend.

Esther went out of the house the moment he stepped in. I got some tea made for him. “Saw the new house?” I said. He replied, without any embarrassment, “Never mind, Ananthamurthy. It's all over now.” He didn’t say another word about it.

We try to show our integrity through our prejudices. I don’t like this practice, among Kannada writers, of flaunting their integrity. We must hide our integrity, like we hide our love.

My friend B S Achar was struck by cancer. Lankesh wrote about it in his paper and announced he was giving him some money. Achar was disgusted. He returned the money. It didn’t occur to Lankesh, whose aim was publicity, to reflect if it was all right to write in his paper about his own acts of charity.

The modernist debate
Our discussions at Coffee House with Gopalakrishna Adiga inspired many of my writings. We lived in a world of our own, amidst the shared coffee and cigarettes. We were busy ushering in modernism in literature when a juke box, which we thought of as a symbol of modernity, arrived at Coffee House.

Attracted by its loud music, young people thronged the cafe. Modernity had snatched away the comfortable cane chairs that encouraged discussions about modernism.

We went to the parks, looking for space under the trees. Without coffee, our discussions lost their charm. We didn’t have money for beer at the pubs. And in any case, Adiga wouldn’t drink even though he was a modernist!

Translated by S R Ramakrishna(srramakrishna@gmail.com)

Excerpted from Suragi, U R Ananthamurthy’s autobiography, 2013.

*Suragi is the name of a flower Ananthamurthy loved. It is also the name of his house in Dollars Colony, Bangalore.

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Thursday, March 18, 2010

Ready reckoner to your maestros

Amaan and Ayaan Ali's 50 Maestros, 50 Recordings is a guide to the masters of Indian music, and comes with a superb CD compilation of their music

Twins Amaan and Ayaan Ali Khan's smartly packaged book about Indian musicians showers adulation on their famous father Amjad Ali Khan while remaining respectful about his most formidable peer Ali Akbar Khan.

50 Maestros 50 Recordings looks so good that music lovers will find it difficult not to pick it up. But don't worry, at Rs 350, it's a worthy buy, if only for the music CD that comes glued to the last page. The book isn't bad either. It gives you a quick overview of the deities in the Indian classical music pantheon, and is sprinkled with some refreshingly candid personal observations.

Insiders and music lovers curious about artistic rivalries are likely to quickly flip to the pages about Ustad Amjad Ali Khan and Ustad Ali Akbar Khan, two of the most celebrated sarod maestros of our times, to see how the authors (also sarod players) have managed the comparison.

"What can you say about an icon whose very name means music to you? What do you write about a man for whom the world is music and music is the world?" they say of Amjad Ali Khan, while they mostly list out the occasions when they met Ali Akbar Khan, and finally balance it all out with "He (Ali Akbar Khan) left behind a legacy that is priceless. His teachings, his musical genius and his calibre are unparalleled."

But then, if they don't gush about Ali Akbar as they do about dad, they aren't always afraid to express their opinions either. They refer to Sharan Rani's claim that the sarod existed since 500 BC as "baseless" and having no historical or musical evidence. The sarod, they say, evolved from the Afghani rabab, and was modified in India by one of their forefathers. They praise the role of the guru, and say only a guru, and no formal institution, can produce a great performer.

Happily, Carnatic music is well represented in the book. No one will dispute the inclusion of Semmangudi, D K Pattammal, M S Subbulakshmi and Balamurali, but the exclusion of such giants as G N Balasubramanyam and K V Narayanaswamy will be noticed. Also, among violinists, the choice of L Subramaniam over Lalgudi Jayaraman is likely to evoke scepticism. But then, to be fair, it is never easy for musicians to write about musicians and make lists, and Amaan and Ayaan have pulled off a small miracle by compiling music of such sweep. Their writing is clearly aimed at the non-specialist, and can sometimes look sketchy. The introduction to Indian classical music shows journalistic ease. The choice of pieces is well thought-out (for example, Bhimsen Joshi's 1968 recording is intensely beautiful).

The book dedicates two to four pages to each musician, giving biographical details, and placing them in the context of the authors' own musical discovery. This is a representative way of introducing young people to the wonderful world of Indian classical music, and publishers Harper Collins combine marketing pizazz with a genuine desire to spread the art. An additional attraction is the photographs the book brings together. Getting copyright permissions from multiple record labels couldn't have been easy. Amaan and Ayaan write a brief note on each of the tracks in the albums they have culled their gems from, helpfully pointing in the direction of further listening and exploration.

With its colourful, classy cover, 50 Maestros 50 Recordings will definitely adorn your bookshelf. You'll enjoy the music, and hopefully, so will your kids.

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Sunday, March 14, 2010

Zany new proverbs on Twitter

The trending topic 'modern proverbs' is inspiring tweeters to tweak age-old aphorisms to sound funny and contemporary

For two days, Twitter was awash with gems of urban wisdom. The trending topic "modern proverbs" inspired tweeters to attempt variations on old proverbs and create zany new ones.

An example of the first variety is "History repeats itself" becoming "History retweets itself."

Many proberbs borrow from the vocabulary of tech, and social networking. "Give hashtag where hastag is due" takes off on "Give credit where credit is due," replacing 'credit' with the hash sign used by tweeters to recognise and promote an exciting topic. "What's in a user-name?" is a variation on Shakespeare's ubiquitous line "What's in a name?"

Television and popular culture are other big influences, as in @jhunjhunwala's witty proverb "Actions speak louder than Words but Arnab Goswami speaks louder than actions and words."

Thousands of 'modern proverbs' had appeared on the micro networking site before the tide started ebbing on Wednesday. Many tweeters were Indian, but they were not a majority as they were when the Nithyananda scandal broke.

Here are some I liked:

@mansigrover History retweets itself

@avinash_y Every day is a monday except saturday and sunday

@creatitwitty: Accents speak louder than words

@krishashok: The leopard cannot change his spots, unless Photoshop is involved

@vinod_raman: Tweet to live, but don't live to tweet

@eJeremy: Give hashtag where hashtag is due…

@Jhunjhunwala: Don't judge a book by its cover ,download the free PDF and then judge it

@jhunjhunwala Actions speak louder than Words but Arnab Goswami speaks louder than actions and words

@darshanp82: Love thy neighbour's Wifi connection.

@sujayendra: For every action, there is an equal and opposite government program

@The_Prachi: i m in a good shape. round is a shape.

@vinod_raman: Too many hooks spoil the blog

@boredtech: He who hath smelt it, surely must have dealt it

@sandsekh: make love, not mms

@c_aashish: One man's meat is another man's jail term under Section 377.

@shahstruck: "Man proposes, and woman disposes of his income".

@dharmeshg: If at first you don't succeed, go to the 'Help' menu

@OMGhumor: Tweet others the way you want to be tweeted.

@telljeeves: Roaming was not billed in a day

@teatattler: Google helps those who can't help themselves

@johnnypixel: Life will give you many challenges. Much of which can be outsourced to India

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Wednesday, March 03, 2010

Cerebral music on violins and cello

The Madras String Quartet played Thyagraja and Vyasaraya, setting off the beauty of South Indian music against Western harmonies

The Madras String Quartet presented some fine, cerebral music at a three-day festival that concluded in Bangalore on Sunday, February 28.

Led by violinist V S Narasimhan, the group played 45 minutes of Western classical music, and followed it with half a dozen Karnatak compositions, adapted to the quartet style. Understandably, the southern Bangalore audience was more tuned to the second part of the concert, and responded with respectful applause after each composition.

If you are familiar with film music in the southern languages, there’s no way you could have missed hearing Narasimhan, even if you have never heard of him. He has played the lead violin in hundreds of films. His work with Ilaiyaraja, especially, ihas won him a following among more informed music lovers.Besides Narasimhan, the Madras String Quartet comprises V R Sekhar, B J Chandran, and Hemantraj Muliyil.

The quartet was formed in 1993, and has performed across India. If younger music lovers in Bangalore haven’t heard about them, it could be because the Madras String Quartet is no youth band, and they don’t play rock... Their music calls for serious listenership, and is a sure delight for anyone with even a passing familiarity with Indian and Western classical traditions.

At Sunday’s concert, they alternated slow compositions with brisk ones in the first part of their concert. They specialise in the music of the 18th and 19th centuries, particularly Haydn, Mozart, Beethoven and Schubert, and it would have helped if they had announced the names of the compositions they played.

The first composition they played in the Indian section was the simple Raaravenugopabala in raga Bilahari. With its happy, major-scale appeal, it energised listeners, and many started humming along (not such a good thing, since some were off-key!). The quartet then went on to play complex compositions of Muttuswamy Dikshitar and Thyagaraja, and concluded with the Vyasaraja composition Krishna nee begane baaro in raga Yaman Kalyani.

For most of their work, they kept the grammar of the raga intact, but in some passages, like in Evari bodha in raga Abhogi, they introduced harmonies using notes outside the raga. That sounded a bit too radical for ears tuned to the tonal restraint of Karnatak music. Overall, the performance was acoustically satisfying, showcasing genuine, sensitive musicianship. It sounded lovely most of the time, even if one detected a couple of uninspired moments.

The quartet’s music is niche, definitely not something less rigorous musicians can pull off. Narasimhan played most of the leads, and the others played shorter solos. Everything was notated, which means that it didn't have the improvisational expansiveness of a conventional Karnatak concert.

Sekhar’s cello had a seasoned, mellow feel, and his touch was exquisitely delicate. (Incidentally, he is the son of the Carnatic violin wizard Kunnakudi Vaidyanathan). Together, the four musicians played authentic, grace-oriented Carnatic music, setting off its beauty against the harmonic richness of the Western classical idiom. It was beautiful.

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Saturday, February 20, 2010

Unique tabla school enters 25th year


Kallur Mahalakshmi Tabla Vidyalaya is producing some of Bangalore's brightest young percussionists

Kallur Mahalakshmi Tabla Vidyalaya, one of Bangalore's most respected music institutions, begins its 25th year celebrations this Sunday.

Founded and run by well-known tabla player Rajgopal Kallurkar, it is the only school in Karnataka dedicated to the tabla. “The focus helps,” says Kallurkar. “Students here can go all the way up to a Ph D in tabla playing.” Most students train for exams conducted by the state board, or academies such as the Gandharva Mahavidyalaya.

The school’s 150 students come from all corners of Bangalore. It gets overseas students as well. Kallurkar founded the school in Dharwad in 1985. He migrated to Bangalore in 1997, and brought the school with him. “Bangalore was a bigger city with more opportunities, and my friends, especially the famous tabla player Ravindra Yavagal, advised me to move out of Dharwad,” recalls Kallurkar.

Wah Taj effect
Like him, several Hindustani musicians moved from Dharwad to Bangalore, looking to survive by performing and teaching. The cultural curiosity of the Old Bangalorean ensured that they had a steady stream of students. Many families switched from Carnatic to Hindustani music. Around the time the school came to Bangalore, tabla playing had become glamorous, thanks to Ustad Zakir Husain's TV appearances.

“Young people are crazy about the tabla,” says Kallurkar, whose youngest student is four. He gets enquiries from parents who want their children to hang out at the school even if they don’t take lessons. But six, he says, is a good age to start learning.

Kallurkar slowly built up the school, conducting classes inside his ground floor house initially, and then adding the first floor. He gives free lessons to about 20 needy students.

With a master vocalist
In Dharwad, celebrated vocalist Basavaraj Rajguru used to drop by at Kallurkar’s school during his morning walks. He would watch Kallurkar teaching his young disciples. And then, there were long practice sessions and concerts with him.

“It was such an awesome experience playing with him,” says Kallurkar, who believes he learnt a lot about complex rhythmic patterns and saat sangat (accompaniment) from that master. Kallurkar has fond memories of Gangubai Hanagal, who graced the 10th anniversary of the school. His photo album shows him with some of the greatest musicians of our times. In one, Kallurkar, then just a teenager, is standing shyly next to a regal-looking Pandit Bhimsen Joshi.

Kallurkar holds an MA in Sanskrit, and could have become a lecturer, or, if he had followed his father’s vocation, a priest. But his heart was in tabla playing. As a boy, he moved from his native Kallur to Dharwad to learn under Pandit Girish Avate. He then trained under Ustad Sheikh Dawood in Hyderabad.

Life’s roopak taal
“Teen taal, with 16 beats, is the king of taals. Take two beats off, you get deepchandi, four off, it’s ek taal, nine off, and you have roopak,” Kallurkar remembers the ustad telling him.

Incidentally, Kallurkar has named his son after the seven-beat taal Roopak. The 12-year-old is among the more accomplished students of the school. Adarsh Shenoy, another of Kallurkar's students, has already won the acclaim of hard-to-please musicians. And when disciples put together a memorial concert for Ustad Sheikh Dawood, Kallurkar met another tabla legend, Ustad Alla Rakha.

“He was short-tempered, and a chain smoker,” Kallurkar recalls. "He scared the others away, but let me sit with him and have a picture taken."

Thanks to his crisp, imaginative style, Kallurkar is a much sought-after accompanist on the concert stage. He is also active on several academic boards and committees.

As his school enters its 25th year, Kallurkar looks forward to offering scholarships, instituting a national award, and doing lots more for tabla studies.

Silver event
The school's 25th celebrations begin at 9 am on Sunday, February 21, with a concert featuring Prasanna Gudi (vocal), and a tabla solo by Pandit Vijay Ghate. The venue is J S S Auditorium, 8th Block, Jayanagar. For details call 98452 05803 or 94806 12234.

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Wednesday, January 13, 2010

Life: A documentary you'll love

Life - A preview of the series. from Documentally on Vimeo.



Just thought I'd share a link to this wonderful documentary that the BBC is making.

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