Jane Goodall

Today I had the fortune of listening to Jane Goodall. I wanted to be in her physical presence as I suspect that she had a radiance about her. And I was indeed right. In a room packed with developmental economists and other NGO professions she spoke passionately about her mother. How her mother believed in her from the time she was 1.5 years old and took earthworms to bed with her. Instead of getting upset her mother nurtured her love for animals.

Jane she was born between the two world wars she was very poor - her family could not even afford a bicycle. But her mother bought her Tarzan and other great books about the natural world. At 11 years old Jane had a dream that she will be working with animals she said and writing about them. And when she shared this dream everyone except her mom laughed at her. Her mom told her to work hard and focus on her dreams. Finally she saved enough money to buy a ticket on a boat to Africa and set sail on a new adventure. She knew she wanted to be a naturalist in Africa. And this to her was the starting point. Getting there. Of course once she was there there were other obstacles. In particular no one would take responsibility for a young single woman to roam the forests unaccompanied. So her mother came along with her. And when Jane was starting to lose heart - feeling that she was not learning anything spectacular about chimps her mother refuted it. Her mom told her that Jane was learning alot about how they feed, what they feed on and other daily habits. And encouraged Jane to record all of it. And her breakthough finally came when she saw a chimp using a stick as a tool. Her mother also created incredibly trust and goodwill among the local Kenyan people by setting up a "clinic" in the village where they were. She used epson salts, bandages, aspirin and other simple medicine to treat the ailments of the villagers. In turn the villagers came to revere her as a white witch doctor and allowed Jane much access and shared their wisdom with her.

When she finally presented her findings to professors in Cambridge they said that she was wrong. Animals have no emotions and it was wrong of her to name her animals. They must be numbered. She said instinctively she knew her professors were wrong. From a very young age her dog had taught her that animals have many emotions and this in turn became the basis of her work. I was deeply inspired by her story and her radiant story telling. She spoke to us from her heart. No script. No slides. With vivid animal hoots and chimp like gestures she shared her intimate knowledge of her chimps with love, honesty and compassion.

Bill Cunningham

Today I went to see a beautiful documentary-movie of a street fashion photographer Bill Cunninham. I was mesmerized and profoundly affected. First Bill's sense of wonder and awe had such an innocent childish quality about it. Secondly he had manners - he sought to protect his subjects that he was photographing. He was not interested in celebrities. He was interested in the ordinary person making bold and creative use of fashion. People who felt compelled to express themselves. In defending fashion he said fashion is like an armor that helps one get through the day. Without fashion life would be so dreary. And unimaginative. What a refreshing take on fashion which often has been confused with vanity and excess. As opposed to a possible avenue for beauty, inspiration and self-knowledge. I also loved the fact that he did the work he did out of love. He worked in the early days in the "establishment" - meaning a newspaper. And at night he did all his creative work up till 4am in the morning. He clearly had amazing energy or maybe it was the work that gave him the energy. But at 82 being able to look back at his life and smile the way he does. And talk with so much passion about his work is a real source of joy. His fluency in French and how he says he comes to Paris every 6 months like a student to educate his eyes. That was an amazing insight. When accepting an award from the French he almost broke down when he says He who seeks beauty shall find it.

Chinua Achebe

Recently in an interview Chinua Achebe said that it was intolerable for any man to stand up and claim that his Ibo dialect is better than another Ibo dialect. Or Achebe added to claim that his dialect is the only one. This statement transported me to a dance conference in India ten years ago when all the major dance gurus in Chennai were caught up in a debate as to which bhani or school of Bharatanatyam was superior. As Achebe says this is the wrong question to debate about. Different schools of bharatanatyam have evolved over time corresponding to the different gurus and their stylistic choices. Ultimately they are all a celebration of a beautiful classical dance form from Tamil Nadu. These various styles attest to the enduring beauty and grace of that artform. The diversity within the form enriches it and allows for customization to fit the dancer's temperament and preferences. As Achebe says this is a celebration of the people and their identity. Applying this to Bharata Natyam this is a celebration of what is happening today - there are multiple schools of dance and the dancer and the dance gurus need to celebrate this. So even though the bharatanatyam world maybe searching for new ways to grow and preserve the rigor of the classical form, dancers within the space would do well to take Achebe's advice and celebrate the present vibrant state of the art. To dance with great joy, freedom and ownership is one of the most beautiful gifts one can share with the world.

Mao's Last Dancer

When I saw the ad for this I thought it was gonna be just another dance movie. But this interview convinced me otherwise. Maos Last Dancer is a true story of this brilliant man and his long and complex journey from a remote village in China to the glamorous world of ballet in the US. In particular his descriptions of how poor his family was that they often went to bed hungry and how his mother stoically encouraged him to leave her for a better life was particularly moving. The movie did not disappoint. It is a story that seems to have kept very close to the voice of the author. The dancing was brilliant at many parts. But it did not take away the deeper suffering, anxieties and sacrifices that a person makes when trapped between two opposing ideological masters. One who represents your past. The other who represents your future. Ultimately Li Cunxin follows his heart and stands up for what he feels is true to his craft. That dancing ballet in the US makes him feel more free.

40th Wedding Anniversary

Today my parents celebrated their 40th wedding anniversary. In a world littered with broken promises and half-hearted commitments, this is a major achievement. Especially because it was not a mere passage of years. But a true celebration of a deep and abiding love. And the ability to rise about petty grievances and forgive slights. The tenderness and love they still demonstrate towards each other after 40 years together has been a major source of inspiration to me.

Early morning we went to the temple where my parents got married 40 years ago. My mom's favorite deity is Perumal - in fact she always talks about how after she visited Him in Tirupati all things in her life fell into place - her career and her marriage. In the temple I gave my mom a gift and a beautiful card which so aptly expressed my feelings. In Indian culture we have a very important saying - Matha, Pitha, Guru, Deivam - which translates into Mother, Father, Guru and God. This elegant phrase captures the holy trinity of sacred love encompassing one's parents, one's teachers and one's God. Parents have an exalted and near-divine status within a person's universe. They are a child's first guardians, teachers and embodiment of divine love.

The card read:

Mom & Dad,

Children seldom understand
the trials their parents face
the dreams deferred, or sacrifices made
until one day when they are grown
with grown up choices, too
and realize the debt they can't repay

Only you two know
all that's gone into your marriage
or how many challenges you've faced
But I know how much I love you
for all that you've done to stay together.

t couldn't hvae been easy
to keep your patience
your sense of humor,
but you have always pulled through.

And in the process you have taught me a lot about
the power of commitment,
the importance of family
and how to get by
in a less-than-perfect world,

I'm very proud of you for that
Happy Anniversary

A Guru Calls his Disciple

Yesterday a friend of mine from LA was in town enroute to Mysore. It was a sudden trip for him. His beloved yoga guru was in critical condition in Mysore and he was on his way there to visit him. This gesture touched me deeply. Only the very dedicated and sincere students will fly half way across the world for over 24hrs to visit with their guru. Many students fawn over a guru who is in good health and who could grant them an extra tip or insight. But only the true students feel a bond with their gurus and love them deeply and want to be there to comfort their guru at hard times. And times are also hard with the economy in turmoil. It would be an easy excuse for many ashtanga yoga practitioners to say that they just couldn't afford the trip. But my friend was quite steadfast and he knew what was important to him. It also made me think of my guru in Chennai who was in her 80s and whose health was not in such a great condition either. And how deeply she had inspired me too.

My friend had a 10 hour stop over in Singapore. And he wondered if I was available for a cup of tea. I had met him in LA two years ago when I went to practice yoga at his studio. He was one of the best asthanga yoga teachers I had practiced under. He was quiet, focussed and gave firm adjustments. No cosmic energy new age talk in the class. Phew !!! Just quiet focussed breathing and asana work. Just like the way many classical Indian teachers taught. I loved his commitment to his craft. Unlike a lot of yoga teachers in the US who seemed to embrace yoga for its hip factor he seemed alot more into the culture, lineage and hardwork inherent in the practice. I found that deeply refreshing and consistent with the original intent of the classical discipline.

We met up at about 10am in the morning. I suggested that we go to the Kali temple in Singapore first. I felt it would be good to say a prayer for his guru before we hung out. After the temple I took him to the botanic gardens and then to my favorite reflexologist. Its always interesting to view my country through the eyes of a visitor. It is also very interesting how bits and pieces of my childhood memories - like feeding bread to the swans in the Botanic gardens creeps back into my memory.

We spoke of many things ranging from the financial crisis to the spiritual crisis facing the world. But overall our conversations centered on themes of hardwork, consistency and living within one's means while serving a higher power. Values that have
served many generations well across the cultures and continents.

David Marshall

Today morning while at the Marine Parade library I stumbled onto a beautiful exhibition on David Marshall. David Marshall was a prominent Singapore criminal lawyer and politician. He lived a long and illustrious life in which he served as a diplomat, criminal lawyer and time in Japanese captivity as a prisoner of war. The exhibition was particularly moving as it provided an intimate insight into the man with both words and old B&W photography from the time he was a little boy and all the way up to his death. Some of the fascinating things I discovered about him was that:

1. He was considered an "Asian" by the European rulers and therefore given half the pay for work he did with the colonial powers. He stood up to them and successfully fought for equal pay.

2. He had a difficult start to his legal career. None of the English firms would hire him. Through his father's contacts he eventually landed a job with a small local firm run by one of his father's friends who was also a very influential local man.

3. He took whatever work that came his way. He did not start his career in criminal law. But whatever work he did he did it with exceptional pride and excellence. As such he won the respect of his peers in the bar. He used to go to bed at 8pm at night and wake up at 2am in the morning to prepare for the case to be heard that day at 10am. His dedication and hardwork was renowned.

4. He had various health problems throughout his life. Towards the end of his life his eyesight was very bad and he had great difficulty reading cases. But yet Drew & Napier allowed him to serve as a consultant as they felt he was a shining role model for the younger lawyers and had a depth of experience and wisdom to impart.

5. He also worked at Allen & Gledhill and at one point started his own law firm. His career was also interrupted by the war and when he was captured and made to do menial work in captivity he suffered deeply. Some of his friends died in captivity and he was reduced to a mere 53kg.

6. He married at 53 years old after spotting a beautiful woman in her graduation attire at the University.

The above tapestry of personal facts struck me. I always thought that David Marshall had a privileged life and like many white men had privileged opportunities that were denied to others. In fact it was apparent from the exhibition that this was far from the truth. David had to overcome many struggles in his life and had faced many many obstacles. Yet he fought courageously and stayed true to his ideals and his legal profession. I guess there is inspiration all around us if we care to look up and around us.

Transcending Poverty with Classical Music

"Music has to be recognized as an ... agent of social development in the highest sense, because it transmits the highest values -- solidarity, harmony, mutual compassion. And it has the ability to unite an entire community and to express sublime feelings." José Antonio Abreu. Jose Antonio Abreu founded El Sistema ("the system") in 1975 to help poor Venezuelan kids learn to play a musical instrument and be part of an orchestra. 30 years on, El Sistema has seeded 102 youth orchestras -- and many happy lives.

I believe this is true for all classical art forms that emphasize discipline, dedication and persistence. Classical arts integrate the mind, body and soul and is a holistic educational discipline that has often not been given the kind of stature in traditional educational curriculum that it truly deserves.

The idea is that the families join with pride and joy in the activities of the orchestras and the choirs their children belong to. The huge spiritual world that music produces in itself, which also lies within itself, ends up overcoming material poverty. From the minute a child's taught how to play an instrument, he's no longer poor. He becomes a child in progress heading for a professional level, who'll later become a full citizen. Needless to say that music is the number one prevention against prostitution, violence, bad habits, and everything degrading in the life of a child. Jose Abreu.

Music with Shining Eyes - Benjamin Zander

Telling Our Stories

Sometime ago I heard an interview that Mira Nair gave at Harvard. It moved me deeply. Both her candid way in which she spoke and her implicit ownership of her intelligence and originality. She demonstrated the power of great interviews - the ability to reach and inspire younger women and men all over the world.

She asked two very pertinent questions which has inspired me in much of my artistic work and in my life:

(a) If we don't tell our stories then who will?

(b) How do you create something out of nothing?

These questions were all the more important as they were asked by a non-monoculturalist - ie someone who has worked and lived in not just one country or system. This question was asked by a multiculturalist - someone who has homes in three very different countries - India, New York and Uganda and is able to draw inspirations across continents and generations. And then look for universal theme and values that connect people.

Some Bollywood types have accused her from selling the exotic India. Pot calling the kettle black. Mira is anything but exotic. She is authentic. She knows how to view universal problems and dilemmas through the eyes of an Indian culture. And tells universal tales through the Indian lens. This requires a great level of intelligence, sophistication and artistry. And the ability to truly assimilate multiple cultures and identities in a way that has broad appeal.

Reclaiming Humanity

Last year (in 2007) while I was traveling in Los Angeles I heard an amazing interview on LA radio. An interview that spoke to all my issues with LA. The racial polarization within LA, how the city was an extreme contrast in the have and have-nots and how it many ways its Hollywood industry has promoted false values - these were some of my observations while in LA. However, I could not articulate my sense of disquietude with LA. Until Chris Abani came along and articulated them for me in his interview. He was talking about his book that he had just released - the Virgin of Flames

More recently I encountered him on TEd where he gave a moving speech on reclaiming humanity and the small acts of kindness from strangers which can have a profound impact in one's life.

Drumming & Dance

Last night I went to watch Zakir Hussain and his team of percussionists. They blew me away. And I am not particularly a drum or percussion fan. It was my good friend Harish who invited me to the concert. And it was not just any invite. But a deeply enthusiastic invite. I realized later how this sets the mood for the evening. When you go to a show with fellow music lovers and art lovers who lose themselves in the music, it heightens your own pleasure. Its like being in a great rock concert. An opportunity for collective catharsis. Where the music, musicians and audience all blur into one pulsing and powerful force that transcends class, race and daily dose of financial crisis news. Coming back to the concert. Here is what really moved me:

1. Zakir Hussain's generosity. He did not hog the limelight. He shared it liberally with other percussionists as well as dancers. Yes, he didn't have to hog the limelight since it really was his show and he was the star. But star quality or otherwise - I have seen many great artists and divas who never lose their petty desire to always be in the limelight regardless of how far they have come. So this is a beautiful quality in an artist. And one that should not be taken for granted.

2. Zakir Hussain's vision to heighten the visibility of "minor" instruments. In the Indian music world certain instruments like the veena and the sitar dominate. Other instruments like tabla and flute tend to be typically accompanying instruments - just like supporting actors they never become the heros of any show. Zakir changed all of that. He brought and gave center stage to various instruments like the ganjeera.

3. The use of dancers in an intelligent and relevant way. The Manipuri drummers cum dancers were lithe, atheletic and beautiful drummers. A display where dance and drumming blended seamlessly without any artifice to contribute to showcase the great percussive traditions of India.

4. The balance of male and female energies. Although the entire cast of musicians were male they were able to coax beautiful and graceful energies out of their individual instruments. At the same time the interaction between sitar and tabla also highlighted the tension between the male energy and the female energy and how this tension can produce a beautiful child when combined.

5. The controlled use of text. Zakir said a few words and sought to "explain" his music through a metaphor with the Indian traffic. It was indirect, funny and most importantly furthered understanding for even the most clueless in the audience. That to me is the beauty of greatness - the ability to say profound things in a simple way without simplifying things or dumping down to the audience.

6. The experience of flow and transcendence. Forget all those motivational seminars and self-improvement books. Hang around passionate, beautiful and talented folks. It is a balm for your soul. The faces of each musician evidenced a state of flow. Where they had all lost a sense of time and sense of ourselves. When we walked out we all also had shining eyes and singing hearts. They communicated their values to us without touch, without word but purely through their beloved craft. Yes, they may be doing 150 concerts a year all over the world but they played with passion and love. As if they were performing it for the first time for their first audience. It was fresh, polished and uplifting.

Nacho Duato - Scatter Joy (Sydney Festival - 9 Jan 08)

Went to an AMAZING talk at the Mint in the CDB area in Sydney. It was a one hour talk but I got there late - after a rather flustered attempt to locate the Mint. Interesting that the talk was held in the Mint - an old financial institution where money was minted in Sydney. An apt description of my life - housed in the financial industry but driven by an artistic/humanistic core. I also ran into the NSW library on my way to this talk to ask for directions. It was a huge impressive building and when I went thru the huge iron doors it took my breath away. It was one of the most gorgeous and light-drenched spaces I have seen. It was gorgeous and beautiful and deeply inspiring. The librarian gave me directions to the Mint and off I went.

When I arrive Duato was deep in conversation. There were some great questions asked and the facilitator knew his work well. That helped. Some very astute observations/comments that Duato made in his talk that deeply resonated with me:

1. Dancers are not just dancers. I am not just looking for people who can move. But individuals with a certain world-wide, psyche and philosophy. How they approach their dance is really a reflection of how they approach the world. Since I cannot determine this in an audition per se - I invite them to come for a few classes and I watch them. I want to work with a family of dancers who I respect.

2. American dance is a bit naive - the artist never has the chance to really explore the work deeply. It is all very much constrained by box-office considerations. In that way my company is lucky we are government sponsored/supported.

3. My company has no stars. I can afford to do that with contemporary work. But with classical work - one needs stars because the technique/training is incredibly rigorous and it takes many many years of training, performing and working on stage. And things are therefore far more expensive to stage.

4. When I pick a music for my piece I know it inside out. I research the composer and I know each subtle hint/nuance in the music. Some pieces for me evoke jasmine and orange. And I tell my dancers to dance as if they are in a space filled with jasmine and orange. I only create a dance when I LOVE the music. Otherwise I cannot create.

5. When I use text in my work - it is interwoven with movement. Dancing with voice. I use ancient Spanish of Pueblo Nehruda and I don't translate cos' I think it is just words that weave in and out of my dance. Translating it changes its feeling, energy.

6. I am a terrible teacher - I cannot imagine having to teach little kids and others. My assistant does all of that teaching. I create and choreograph. That is what I do best.

7. At some point in your artistic journey you need to stop researching. You need to say STOP. You need to look solely within for inspiration and translate that into a dance piece. Constant external stimulation and after a certain point can be counterproductive.

8. I am not religious but I use alot of religious music as I find it incredibly beautiful and deeply uplifting.

9. It is incredibly exhausting to do two NEW works every year. Finding new images and new inspiration and new materials is not that easy in your 18th year of your dance company. So I am deeply exhausted.

10. Someone asked would you consider moving to Australia and staring a new company - new ideas, new inspiration? No, I don't have the energy to start all over again in another company.

11. As far as funding is concerned I understand that dance funding is less important than say medical or other basic needs that a govt has to meet.

12. When asked if dance is anyway limited in its ability to respond to today's challenges facing the world - re: environment, poverty etc, I agree - I think sometimes I think why am I doing all this dance work. Is it frivolous? How does it address some of the deeper issues that humankind is facing. Who am I am as a human being beyond being a choreographer? I do think about these issues. But no easy answers.

Finally the talk ended with the facilitator asking him about the pendant that Nacho Duato wears. On his pendant it is inscribed "Scatter Joy" - is this his life motto? To this Duato said yes that is what he tried to achieve with his work.

Great Deva Dasi - Balasaraswati

One of the greatest legends of all time Balasaraswati was one of the last living Deva Dasis. She endured much hardship during her life as a dancer and went on to perform all over the world to appreciative audiences. She was to Dasi Dance what Ravi Shankar was to Indian music. Ravi Shankar writes fondly how he was touched and moved by her dancing in his autobiography Raga Mala - The Autobiography of Ravi Shankar (http://www.amazon.com/Raga-Mala-Autobiography-Ravi-Shankar/dp/1566491045). To read more about Balasaraswati and her contribution to Dasi Dance check out http://www.balasaraswati.com/

Balasaraswati's grandson Aniruddha Knight continues to give the Balasaraswati lineage alive. He performs and conducts workshops all over the world. Check out http://aniruddhaknight.com/home.htm

Today I received an e-mail from Stephanie Elliott at Wesleyan University Press that informed me that the biography of Balasaraswati by Douglas Knight will be published the spring of 2008. Watch out for this - would be a great collection for your dance library.

Mandavelli Magic - KJ Sarasa

There is absolutely no sign of a dance class at the end of Rani Anadurai Street in Mandavelli. In fact there is no signboard. Nothing. It looks like a nondescript private home of a Chennai resident. It is only when you start inching towards the gate of the bungalow - that you start hearing the beat of the wooden stick against the wooden plank as the teacher calls out the dance notation. As you walk down the driveway - you see glimpses of dancers thru the narrow door. And finally when you walk through the doorway you see a class full of intense dancers executing complex footwork under the watchful eye of KJ Sarasa. There is the major difference between Chennai and other parts of the world. The marketing machinery has yet to pervade the homes of the Old Masters where some of the greatest artists live and teach.

KJ Sarasa is almost 80 years old but she teaches Dasi Dance with the passion and joy of a young teacher who had just graduated. KJ Sarasa's students have won a string of rewards and are some of the most prolific artists in the world today. Among her students are the former Chief Minister of Tamil Nadu and Cinema actress Jayalalitha as well as Shobana. Today her students continue to dominate and sweep the awards in the Chennai dance category. KJ Sarasa is known to foster the great female solo dancer. Unlike Kalashetra which churns out chorus dancers who do ok in dance dramas but cannot hold their own as soloist, KJ Sarasa is known to tailor her choreorgraphy to bring out the vey best in her dancers. I discovered her after shopping around for gurus and have been inspired by her teachings and my numerous conversations with her.