Coffee With Sundar successfully completes 4 years today! Along the way, it has met many people who personified passion and purpose.. Today is no different. Please join me to welcome Mr. Srinivas, founder of Chroma Academy. The Chroma Academy began its activities in the year 2000 with the aim of being a nodal centre for promotion, development and training of motivated individuals who are keen to sustain and enrich our heritage. For more details, visit The Chroma Academy – http://www.thechromaacademy.com/

http://www.youtube.com/watch?v=E5xp_SbM040&feature=share

Me: Sundar Rajan G S
KS: K Srinvas, Founder of The Chroma Academy

Me: Hello Sir, Can you talk about yourself, your background and your introduction to art.. When did you start your journey with art etc?

KS: Dear Mr. Sundar, It is a great pleasure to find the interest you have expressed in our art forms and in the Chroma Academy’s activities. To start with about me and my background.

Our family has long since been involved in the fine arts for quite some generations. We have records in our family archives which speak of our ancestors who were involved in the visual arts for at least five generations! We originally belong to Andhra Pradesh. We settled in the city of Chennai at least 100 years ago. Our forefathers were poets and littérateurs. My maternal grandfather, the late Mr. Mylavarapu Suryanarayana Murthy was a poet of repute in Andhra Pradesh. He translated the works of Poet Tulsidas and Poet Surdas into Telugu classics. My paternal grandfather Late Mr. Krothapally Subrahmanyam was a painter (later, was attached with US Consulate General’s office in Chennai as an artist & designer). My father was an airline official and my only brother is a Chartered Accountant
working in Perth, Australia at present.

I have been into some art form or other ever since I remember. By and large I am a self-taught artist. During early years, I have had a brief stint in the Kalakshetra College of Fine Arts, Chennai, as a casual student and I was one among the very few to have benefited from the guidance of Late Prof. Adyar K. Sreenivasulu and Late Prof. S. Dhanpal. Both of them held high positions in the National Academy for Arts (LKA). Mr. Adyar K. Sreenivasulu was a highly skilled figurative painter who was projecting Indian traditional and folk art forms into the contemporary idiom. Mr. S.Dhanapal was a renowned sculptor and a keen advocate of modern art and I am one of his students who gained allegiance to the modernity through him.

Shortly after this I joined a famous Craft NGO, aided by the Ford foundation and Commonwealth as an in-house artist. I was also taking a keen interest in their craft awareness camps and their revival programs. Though I left this institution my love for the arts and craft tradition remained secure and out of self interest I started interacting with various artists, crafts persons and basic workers. Thus started my journey into art….!

Me: Who were your role models and teachers? Can you share some experiences? Some are of the view that art has to be explored from within rather than learnt from a teacher. What is your view on this?

KS: I can’t think of anybody as my role models, but I have great respect for Picasso, Marc Chagall, Dr. Annada Coomaraswamy (indophile), Gillian Ayres (British abstract painter), and M.F. Hussain in the field of art. Every time I watch the movie “The mystery of Picasso” a full length movie which contains rare footages of Picasso working on a canvas, I become ecstatic. I have great admiration for Buddhist sculptures of Amaravati and Pallava sculptures to name a few.

Learning art from a teacher is a worthy exercise-don’t have to waste your precious time going through years of trial and error. The guidance and the first hand experience in watching a teacher work on his canvas, goes a long way in enhancing one’s inert talents.

Me: When did you start the Chroma Academy? What is the objective of the organization? How many people are involved currently?

KS: I have been teaching art, working in the areas of craft development and heritage since 1995.

The Chroma academy began its activities in the year 2000 with the aim of training interested individuals in fine arts. We have trained many school children, hobbyists, designers and media professionals. Currently, we are focusing our activities on imparting training to adults from various backgrounds. Several talented people who are underprivileged were also given training free of cost.

Documenting visual material, techniques pertaining to ancient crafts and support activities to the aged or ailing craftsmen are a few of our pet projects. I am a person who prefers to have my individual spirit and independent thoughts go into my art rather cater to or succumb to commercial art. So we, at The Chroma Academy, do not generally liaise with others or seek funds from any agency. However, voluntary contributions from our close associates help our support activities to some extent.

All activities of The Chroma Academy are conducted by me personally. The projects involving traditional arts skills are outsourced to the authentic artisans. Few dedicated volunteers also help us in our activities.

Me: How did your interest in Kalamkari start? What is Kalamkari all about? Can you speak about the recent initiatives you are taking for the art form?

KS: Even during my college days, I used to interact with several artisans in their work, marketing and social conditions. During such time, I had the opportunity to work with the artists of Kalamkari, mat weavers of Pattamadai, soft stone turners of Tamil Nadu, wood turners of Ettikopaka(AP), and few other artisans. Kalahasti
is the center for Kalamkari. My focus shifted to Kalamkari. I got three or four artisans to work for me and came to know about their methods. There are many artisans who are traditionally bound. I found that they have no way to meet their ends. We @ The Chroma hope to find them better and more clients. Workshops are being conducted and more than 100 people have benefited so far. We also take the role of consultants for Kalamkari regarding classes and products Eg. A client from London wanted to know about his grandfather’s purchase from South India in Kalamkari. Information along with designs for the students can be sent on request online. We have been actively associated in promoting Ramayana in multimedia. The great epic was done in Kalamkari style and tagged with our help. The multimedia CD ROM has been promoted by www.viotrix.com.

For this blog users who are interested in our country’s ancient art, I have put down here a short introduction about Kalamkari (which is also one of the slowly dying ancient arts). I hope this will enable the users to get a bird’s eye view of Kalamkari.

The pdf guide can be found here - http://coffeewithsundar.com/Kalamkari%20ebook.pdf

Ancient Kalamkaries were used as the backcloths in temples, decorations in temple-cars and were typically used in rituals. In those days, India was famous for dying with indigenous colours obtained from the roots, barks and flowers of the trees. Kalamkari literally means pen craft (kalam in Persian means pen).This craft was in vogue in many parts of South India, all along the Coromandal coast and presently it is confined only to Srikalahasti and Machilipatnam, both in Andhra Pradesh. The subjects are mainly drawn from the great epics of Ramayana, Mahabharatha, and Bhagavatha. These celebrated creations which were both the works of arts and utilitarian pieces are now relegated to the status of mere mass made handicrafts /souvenirs. In spite of efforts from numerous agencies, Kalamkari still remains in a decaying state. As an artist who has a firsthand experience and having worked with many artisans in Kalamkari, I can say that this is the blatant truth.

Me: Do you see much interest among students to learn such traditional art forms? Or are the students keener on learning something more contemporary and recent?

KS: Both students and parents these days want immediate and quicker results, be it traditional or contemporary art. They shun any art which requires hours of concentration. In doing so, they switch over from one form of art to another. This is the current scenario with regard to fine arts. But getting to know the traditional art forms will only enhance one’s capacity in contemporary art. Acquiring in-depth knowledge is required for the students to shine in any field. Obviously modern and contemporary art has wider applications. For those who want to learn traditional
arts or crafts, I would advise them to learn from the artists who have firsthand experience in that particular art or craft. Do not patronize amateurs or commercial establishments. You can research on the internet about these arts and crafts; join the dedicated blogs projecting them. During British occupation a large number of art and cultural objects were acquired by the museums. So visit museums often and make a study.

Me: Do you see the trend that children today are keener on video games and Nintendo’s instead of pursuing art as a hobby? How do you inspire students to study art?

KS: Yes, you are right Mr. Sundar!

These video games and Nintendo’s can really retard a child’s creative instincts of the brain and their tactile skills. However coaching kids with basics of computer and using it to make art can be engrossing .These skills can also aid them in their professional careers. Children in general are motivated, and “born artists”. With little patience, efficient art tutors can make them inspired easily. The problem for any art educator would be the parents of these children who are mostly ignorant or insensitive towards art. Many art teachers here are semi-skilled and semi-literates. The school managements’ themselves are not sufficiently informed about the academic training of art or about the modern trends. Also it is distressing to see many itinerant traders in the name of international franchises setting up art centers in many places with the only aim of making quick money. Parents and students
should enquire in detail before enrolling into any art school.

Me: One last question. Can you provide some tips to encourage art/creativity development for children…

KS: Sure.

• Use magnets to proudly display your children’s drawing on the refrigerator door where all can see it

• Do not worry if you cannot figure it out. Its beauty may reside in your child’s use of colours, lines and shapes. Do not ask, “what is it?”. Consider it a design. Encourage your child to discuss it if he or she chooses.

• Your child would probably enjoy doing art at home. Art supplies make good gifts. Keep a small box filled with the following:

• Scissors, glue, paste, tape, crayons, markers, ruler, stapler, water colour set, clay or play dough and paper in variety of sizes, shapes, colours and textures.

• Your child will also enjoy doing art with you, Enjoy Art together!

(Extract from the book: Art and Creative Development for Young Children by
Robert Schirrmacher)

Hope you find my answer succinct; please note that I have expressed my views on children only in Indian context!

Me: Thank you very much sir. I really appreciate your time & effort. On behalf of all CWS readers, best wishes to yourself & The Chroma Academy.

Readers, hope you enjoyed this edition of Coffee With Sundar! Thank you very much for all the support!

Previous Interview: Bhaskar, Easy Blood
Previous Art Work: Skandagraja

All interviews can be found here - Coffee With Experts.

Me: Sundar Rajan G S
BH: Bhaskar, Founder – Easyblood

Me: Hello Bhaskar, Welcome to the show on Coffee With Sundar. What is easyblood organization all about? What is it trying to achieve?

BH: www.easyblood.info was started to provide a common platform for blood donors and receivers to connect directly with each other. The website provides a platform to locate voluntary blood donors for any given blood group in more than 2500 cities of India.It aims to ease the process of searching for a blood donor in times of an emergency by providing a direct link to matching and interested donors across the country.

Me: What was your motivation for starting the same? Who is the other co-founder.. what are your backgrounds?

BH: The founding members are:
a) Bhaskar Chaudhary
b) Souvik Saha

Souvik Saha was last working as the Jharkhand head for Cholamandalam. MS General Insurance Co. ltd before he resigned in may 2009 to start an NGO called People for Change(www.peopleforchange.in) along with me. Souvik is a post graduate in accounts.

I am Bhaskar Chaudhary, an ex banker and was heading Jharkhand and Bihar SME division for HDFC , before I too quit his job in June 2009 to start People for Change with Souvik. I am an MBA in finance. While on our travels across the country with regards our work at People for Change we came across some startling facts about blood donation in India. We did a bit of research ourselves and arrived at the following facts;

a) Round 7 accident victims die every hour for need of blood.
b) India leads the world in blood trafficking trade
c) 40% of illegal trafficked blood is sourced from children
d) 30% of blood transfused in India is adulterated
e) Every 2 seconds , someone in India needs blood.
f) 77,000 Indian women die during child birth, for need of blood.
g) Need for blood will increase 5% each year.
h) While 8% of population in U.S.A donate at least once a year, it is
a meager 3% for India.
All this could be solved if Indians began to donate voluntarily.

India has round 14 crore internet users. Out of this, 12 crore users are above 18 years of age, which is the age eligibility to donate blood. If this user base is motivated to donate even once a year, it can address the blood shortfall of India. www.easyblood.info aims to target this user group to bridge the blood deficit.
Hence with this idea we started easyBLOOD.

The inspiration to start easyBLOOD was that we felt that though many of us are willing to donate we are unableto or not comfortable with the idea of going to some blood camp or a blood bank to donate regularly.

Me: How is easyblood different from other organizations which educate about blood donation..

BH: At easyBLOOD you just have to register to donate and only donate when contacted by a person in need of blood. Also the very fact that a donor can actually see whom he is donating to, adds a personal touch to the process and acts as an added incentive for a person to donate.

We are trying to address the shortfall of blood in India by motivating the internet user base to pledge to donate and ease the process of searching for a blood donor in times of an emergency by providing a direct link to matching and interested donors across the country.

Me: How many members have registered so far? who can request for help on the website?

BH: Facts about easyBLOOD;
a) Launched on 17th December, 2011
b) So far round 400 people have joined as members.
c) There have been 2 cases where receivers have used this site to find donors and receive blood.
d) 4 chapters started so far in Kharagpur, Hazaribagh, Mugma and Patratu.

Anyone residing in India can request for help from the website. All they would need to do is register on the site(free registration)

Me: Apart from the social benefit, what are the health benefit of donating blood?

BH: Reduce the chance of heart diseases

It has been observed that increase in blood iron level increases the chance of heart disease. Iron is involved in the oxidation of cholesterol and this process is believed to be detrimental for the arteries. Increases blood iron level favors this process of cholesterol oxidation and thus leads to heart disease. Regular blood donation helps especially males in loosing iron on regular basis. It helps in reducing the chance of heart attack to one third.

Lower Iron Levels

Lower the iron levels in your body every time you give blood, which can help reduce the risk of heart disease. According to CNN, high blood iron levels have the potential to increase the risk of cardiovascular disease because iron accelerates the oxidation process of cholesterol in the body, which damages arteries. Iron levels aren’t the only factor that plays a role in a person’s risk of heart disease, but there are certainly no downsides to lowering blood iron levels by donating blood regularly.

Reduces the risk of Cancer

Give blood to help lower your risk of cancer. According to the Miller-Keystone Blood Center, consistent blood donation is associated with lowered risks for cancers including liver, lung, colon, stomach and throat cancers. Risk levels dropped in correlation with how often participants donated blood.
Enhances the production of new Red Blood Cells

As the blood is withdrawn from the donors body there is decrease inblood cells. To replenish it, immediately new cells are produced by marrow andthis way blood gets refreshed. Therefore donating blood helps in stimulating generationof new blood cells.

Helps in fighting Hemochromitosis

Hemochromitosis is a genetic disorder; also know as iron overload disorder wherein iron accumulates in the body tissue because or improper iron metabolism. This condition may lead to organ damage.Though this problem is uncommon in Indians, people with little iron overload also can easily donation blood and reduce their iron content. Taking example from other countries, one in every 300-400 people in England suffers from this disorder and American Red Cross blood services accept such donors as safe donor as it’s a genetic disorder, it won’t be harmful to the person receiving blood from such donors.

Burns calories

One can diet or remain fit by donating blood regularly. One pint of blood (450 ml) when donated burns 650 calories in donor’s body.

Basic blood test is done

Apart from all these benefits a donor gets a mini blood test done before donating blood. This includes Hematocrit i.e. HB level test, Blood pressure is measured, body weight is checked. After the blood is collected it tested for 5 major diseases. Those are Hepatitis B, Hepatitis C, HIV, Syphilis and malaria. Donor is immediately informed if any of these test found to be positive

Me: What are the challenges you are currently facing in spreading the message about blood donation?

BH: The biggest challenge that we are currently facing is making people aware of the importance of donating and how they can use www.easyblood.info to either donate blood or search for a matching donor across 2500 cities in India.
Publicising the site for deeper penetration has been a major problem

Me: What is your message for Indian youth. Anything else you would like to add?

BH: The young in India need to understand that blood cannot be manufactured and is available only by donation.Also voluntary blood donation can be a major tool to stop the illegal blood trafficking trade in India.
The youth in India can contribute in any of the following ways;
a) By registering themselves
b) By inviting their friends to register
c) Opening a local chapter of easyBLOOD (people interested in starting a local chapter can write to us at support@easyblood.info)

Readers, hope you enjoyed this edition of Coffee With Experts.

Previous Interview: Aishwarya, India Nuance
Previous Art Work: Ganeshvara

Welcome to the show on Coffee With Experts! Today we have a young Indian entrepreneur who decided to take the road less travelled in chasing her dreams in the music industry. Aishwarya, started India Nuance – an artist management firm with a focus on Indian classical music. Her start up in the field of art & music has caught the attention of many and has recently been awarded British Young Entrepreneurship Award. Please join me in welcoming Aishwarya, our next Indian role model on Coffee With Sundar.

Me: Sundar Rajan G S
AI: Aishwarya, Founder India Nuance

Me: Hi Aishwarya, how are you doing? Can you speak about yourself.. your childhood.. your music interest etc..

AI: Sure. My family has always been into music. Mother is an AIR artist. Grand mother, aunt, cousins are all into carnatic music. We are delhi based family, where the usual atmosphere is music. My grand father is also very interested and involved in making veena. Father plays morching. So all in all, a complete musical family. I would find it odd if we didnt discuss music.. I have always been with music from a very young age..

I started my training from 3 years with my mother.. Ever since I have been learning. Only over the last year and half, I havent done much singing.. Since we were brought up in delhi, it wasnt very traditional always.. My brother plays a lot of instruments like Tabla, Mandalin.. mostly self taught.. Father would bring jazz, blues music etc. When we were in teens, it was the MTV scene.. I always grew up with music and was fed with music with diverse taste.. Even now my itunes are full with diverse music numbers.

Me: When and what triggered you to start India Nuance.. Please share the story.. How long have you been working on it..

AI: I wouldnt say it all happened by chance.. But I threw myself into it.. In 2009, I was married and relocated to Bombay.. I was working with Sa re ga ma, but I was disillusioned with music labels business. It was a declining field.. Physical format is not doing well.. Everything was viewed with a sales/profit vs content angle.. I was not doing what I wanted to do.. So I moved out..

I had about 5 years of experience.. started at the bottom of the run. While I was in Bombay, I was doing a bit of consulting, event management, putting a book together etc.. I looked out for other jobs.. Some of them were good which I would have probably done well as well.. But during my record label days, we to meet managers and artists.. But in classical music space, there were no managers.. they were mainly family of artists or the artists themselves who were managing the bookings. If you look at the pop music space, you will find a proper manager with a legal background dealing with you.. which wasnt the case in carnatic music. The likes of Hari prasad churasia, Shiv kumar sharma we were dealing with.. But where are their managers? There were thoughts which I had discussed with my colleagues while I was in my previous work.. But not in my wildest dream I thought that I would take the plunge then..

But the circumstances turned out to be different.. I was not convinced with other offers which I was receiving.. so I pushed myself into it.. At the end of the day, I was just 27 and I can always come back to main stream..

Initially I operated out of home.. Not much income.. hired a few interns.. no fancy office.. one it is difficult to find real estate in Bombay.. two, I wasnt too keen having a fancy office as well..

We had to choose a name.. I didnt want it to be just realted to music.. So we chose the name India Nuance. Two of us, my brother & I decided on this.. Then we had a designer, Krishna, who helped decide a logo and put up a basic website. This was up in April. Thus began our journey..

Me: So, how did it grow from there.. How did you win the British Young Entrepreneurship Award?

AI: We started off with Shashank.. I had his contact from the record label days..
The concept itself was new to the artist.. their main concern was was should we give up our right.

I was having credibility when I was a part of India today or Sa re ga ma.. But I had to build that for India Nuance.. I took some time to build it.. I was in no hurry to expand.. That was when British council award story happened..

I had known colleauges in the past who have won Young Creative Entrepreneur awards.. I got a call from them asking why dont you apply.. Winner gets to meet several music winners across the UK.. It would be a great opportunity to build relevant contacts in the industry.. I wasnt really ready yet.. But what was there to lose.. I told them that I dont have the necessary 2 – 2.5 years experience which was a criteria.. but they told just apply.. We got shortlisted based on the idea and concept.. We had an opportunity to present the case to the panel. Much to my surprise, I was given the award..

Everyone there was equally great if not more.. They were looking for something radical and different and India Nuance fits the bill.. It was a very encouraging and there was no looking from that.. We were in 5th gear after that.. We were written about every where.. British government promoted our works.. Aritsts were less interested, but organizations were getting more interested with British Council award.. The credibility angle was built.. We prepped up to go to UK..

Me: What is the perception of an artist manager in traditional field like Indian classical music? How do they respond?

AI: To be selected as an artist manager, they were still hesitant.. The artists are very conservative and still a long way to go.. In terms of artist management, there is a different meaning which the India understands.. In India, manager means a secretary..

For artists and vocalists, we would like to take care of the careers.. this would include tour design (internationally), what to perform, whom to collaborate with, help create new content, in new forms.. promote the artist as a whole package..

We do all the talking, they just have to come and perform.. Lot of managers dont necessarily understand the subject, they think it is another form of PR. It is different. Handling traditional artists requires one to understand the sensitivities.. One has to know the differences between kurta, veshti conservative musician to the guitar playing modern musician. We understand the artist and the business. Hence we are able to add value.

Me: What is the goal of India Nuance?

AI: Our vision and goal is to demystify the music and make it relevant to the younger audience. Current audience for music are in the age group 40 – 65. But we have a number of young artists such as Niladri Kumar, Shashank, who are sauvy musician.. Sanjay Subramanian for example is a CA, he can easily hang out with the youngsters.. We want to work with such artists who can connect with the younger audience. Ofcourse, it is not going to happen over night.. This would require time and effort from our side and from artist’s side..

Recently, there was international festival for sacred music. We had artists from Denmark, France etc.. But there were no Indians.. I wondered what was more sacred than our carnatic music.. We just have to package it correctly, identify what to say, how to present.. We help artists create an online presence.. through twitter, facebook, good functioning website which is very important..

Having said all these, we dont interefere with artist’s art.. At best we can suggest.. for example, a concert on “kabir” etc.. But what they sing, how they sing etc.. is upto the artist.. We do what we are good at and we leave the artist to do what they are good at.. This way the creativity of artist is not restricted.. if anything it is enhanced because they dont have to deal with day to day routine..

Me: Do you see much competition in this niche?

AI: In terms of competition.. clearly, we dont cover all the artists.. Some of them have people who work solely for them.. family members, students etc… But in terms of formal organizations, there are very few.. We are one among them..

Me: What challenges do you face in your day to day building of the business?

AI: Challenges are quite a few..

Artists themselves.. Classical music artists are ripped off for most times.. hence they are very skeptical about the whole thing.

Client organizations we speak with.. They ask us why should we speak to you and not directly to the artist.. They have a big ego trip at times..

Instrumental people, are always using artists for their personal benefit.. For example, the person might have helped the artist long back, based on that he would expect the artist to perform everywhere he recommends although artist himself might not be very interested..

Quite a few challenges to over come, but it is a long journey and we are progressing well.

Me: Did you feel like quitting at any point in your journey?

I didnt feel like quitting.. Quitting is a stong word.. I would say, stressed and tired.. as it is very consuming, all your time, mental and physical energies.. Given the amount of convincing, talking takes a toll on you.. But then when you hear music, you spring back to life..

Me: Thanks Aishwarya. What is your message for Indian Young?

AI: This might sound a bit of a cliche.. Lot of us of dream.. Even if there is an iota of practicality, it is never too late to give it a shot.. Try and fail is much better than just being thinking about it.. Money wont come on day 1.. there are going to be tough days.. but entrepreneurship is a greatest high you can give for yourself.. You are the boss of your life.. If you have an idea and you have thought it through, just go for it!

Me: Thanks Aishwarya! Good luck to you and to India Nuance.

Readers, hope you enjoyed this edition of Coffee With Experts! Stay tuned for more.

Previous Interview: Mehmood Khan, Former Global head of innovation at Unilever
New Year Post: Be a seeker! Happy 2012
Previous Art work: Ganesh Paintings

The first part of the interview with Mr. Mehmood Khan can be found here.

Me: How do you ask a young kid to go school when they dont have food to eat.. I know education adds value.. but the returns are so long dated.. The current problem should be resolved first right? I always have this thought in my mind..

MK: Parents are actually convinced that education adds value. Now the rest boils down to the education system. The most of the parents want their kids to be educated today.. As I mentioned earlier, society is now ready for the change. Now the government has to be pushed to provide the service.

Now there is an act passed called right to education. All children from age 6 – 14 are provided with facilities and training in reading and writing skill.. Ofcourse there is scope for improvement. The skill gap will continue. Slowing down of the economy leads to some soul searching.. We have 100,000 children coming in every year.. 95% of those who go to school come to job market.. How do we make them relevant to the market.. Extrapolate this to the whole country.. We have one australia coming into the market every year..

Me: Do you think the model which RKK trust is developing, is a scalable model which can be transported to other villages? or should each village be analyzed independently and model should be customized depending on its needs?

MK: Model can be applied any where. Somthings have to be tweeked to the local environment. Farming for example, might depend on the region.. Rice and paddy will require water.. So it has to be customized. But the model will scale.. We have to work with the community.. Bring partners… Technology, finance, marketing etc.. So.. sustainable model has to be tweeked based on the needes..

Me: What do you see are the current challenges..

MK: Well many.. Firstly, Talent.. Rule India has a lot of raw talent.. But they have to shaped and moulded to be productive.. A lot of such talented people leave the villages and go to city.. We dont have IITs and IIMs there.. We have to retain talent there..

Second challenge is the local stake holders.. There are always hinderances and blockages to positive forces.. A lot of beurocracy feels uncomfortable or out of comfort zone when such initiatives taken. But when they see that it does have positive impact, they join the force.

Me: How did you find your purpose..

MK: Well, I would say it is a part of the learnings from the vedic period. What is the meaning of life? It has various parts. Initially you build a character in the age of Bramachari. Then you move on to the family life. You earn enough for family etc. Then you reach a stage when you realize enough is enough for yourself.. You start thinking about the society as a whole.. By then you would have raised children.. saved money for wife etc.. Now you want to put youwr body to use for the society.. I think I am in this stage in my life cycle.. I want to put my time to society’s use. This keeps me happy.. It is a process of mind I think

Me: Why didnt consider settling abroad?

MK: Well, I have a base in London, Mongolia, USA etc. I can go whenever I want. But I belong to the villages. Whereever I can add value, I belong there.. To be honest, we are in this virtual world.

Me: What is your message for Indian Youth sir?

MK: Today the Indian youth are in their 20s.. When they come to my age.. India would be the world’s no.1 economy.. Within the next 30 to 40 years.. it will be No.1.. There is no doubt about it.. But the question is.. do the youth want a choatic way to reach that stage or do they want to reach it in a planned way..

The real challenge is what role they want to play.. How they want it shaped.. Every body will add value.. You will prosper along the way.. Just how you want it to be is a choice that you have to make it..

I made no sacrifices.. No favour to any one.. I am doing these activities for the peace of my mind.. Youth can contribute to the underprivileged in a number of ways.. through jobs.. through education.. monetarily .. Infact, it is in ones own interest that we contribute to the upliftment of the society.. to make the democracy work.. otherwise, we will have unequal distribution of wealth and serious problems on earth..

People abroad can also contribute.. World has become a single place.. There is no difference between India and abroad.. Technology is uniting us.. You are in London now. but I can see you taking notes real time… People can contribute to the society wherever they are.. and in whatever way they can!

Good luck!

Me: Thank you very much for your time sir!

Readers, hope you enjoyed this edition of Coffee With Experts.

Previous interview – Anil Gupta – Founder of Honey Bee Network
New Year Message - Be a Seeker! Happy 2012
Latest Art work - Tum ho tho

Stay tuned for more!

In the new year, CWS continues the search of role models for Indian youth! Today, we have a very very special guest – Mr. Mehmood Khan, Former head of global innovation at Unilever, who recently returned back home to his native village, to turn it around. There are a lot of people and NGOs out there addressing different problems in the economy. But here is a man, who is reviving the economy of a village in Mewat. Please join me in welcoming Mr. Mehmood Khan, IIMA Alumnus with rich corporate experience who is here to share his story! The first part of the interview is here today!

Me: Sundar Rajan G S
MK: Mehmood Khan – Managing Trustee, Rasuli Kanwar Khan Trust

MK: I am born in a village, I was the youngest of 5 siblings.. So I would say I was a spoilt child. I grew up in abundance. My family was a farming family.. But my father and mother ensured that I had a plenty of everything.. Ofcourse I did walk to school to another village.. About 2 kms.. I dont think I would ever complain.. I studied in a government school, where the teachers were very sincere.. They taught us to read, write, maths etc. Then moved to middle school, high school.. the usual school life.. I got the best in the circumstances.. A rural upbringing.. but definitely an upbringing of abundance..

Me: Did you join Unilever immediately after your education at IIMA? Can you share some of your anecdotes while you were there..

MK: I worked for 2.5 years in voluntary sector.. and then 2.5 years in a corporate sector.. So I had 5 years of experience before joining Unilever.. When I joined there, Forex was very important. So, I was earning FX for them. Govt. of India had a number of restrictions.. So I worked there for 7 years to help them build their balance sheet..

Then I went to Holland.. Berlin wall had just fallen.. I was managing the pioneer market.. basically all the ex. communist countries.. I then opened unilever office in Vietnam.. then Singapore.. where I set up a full fleged operation for Unilever in east asia, which includes Vietnam, China etc.. By then I had gained cross country experience in various global roles.. Then I moved to London, where I was their Head of Innovation till 2009.

Me: You are currently the managing trustee of Rasuli Kanwar Khan Trust NaiNangla, which is transforming lives in rural Mewat. Can you talk a lot about this role..

MK: In 2003, I got engaged with India’s Pratham. Between 2003 to 2009, I was in Unilever but was guiding them part time, weekend etc.. That is how it all got started.. Pratham sent volunteer in the area I work now.. They gave reading/writing test.. That is when I realized that situation was very bad.. Then we did voluntary class.. 1 volunteer was doing classes.. The society was ready for change..

We organized a stake holder meet and prioritized what we wanted to do.. We realized that we needed a total transformation of the village.. This includes work in key areas such as
- Education
- Employment
- Water
- Hygiene
- Infrastructure

Enrolment of children in our volunteer programs gave us the confidence that the society was ready for the change. The government and system was not ready or prepared sufficiently, but society was waiting and supporting any new initiatives. A series of volunteer classes were organized.

We also tried to stir the economic activity of the region. We negotiated with the Dairy which procures directly from the villagers. This helps the villagers to get better prices. We also worked with the companies to recruit youth from the region. We continue to improve the lives of the people at different levels.

Now we have 95% of the children in schools now. We are always looking to improve the quality of education. We tied up with NIIT to install computers in the school.

Me: What are the challenges you face?

MK: Well, these initiatives are never easy. We have to work continuously. We are continuously engaging at different levels. You must understand that if a region is backward, there is a reason for its backwardness. So it is a continuous battle to turn the tide. So it Work in Progress. We get bright students. For e.g., parents have told us that they have learnt more in 6 months than in the last 2 years.

We have 650k villages in our country. Job is never enough done. You know the real problem I face is not these difficulties. But the difficult of retaining the talent. People and talent go to urban localities. Very few people stay back and turn around the villages. The real challenge is to turn these from negative to positive force.

Me: What kind of feedback do you get from firms such as ICICI and GenPact etc, where you place people..

MK: They are quite happy with our youth whenever they carry out their expansion plans. But companies are themselves facing a lot of ups and downs.. For the last 2 years, they have been in consolidation model, except say mobile operators and FMCG. So they are not really recruiting from the villages now. All the firms have their own priorities. So, last 2 years rural participation has reduced. But we carry on with our work. It is currently not a part of their core strategy. Mewat is a small village, so it is not a part of their core, which understandable. Marginalized region wont fit a part of their plans. But our activities and effort continues.

There are new initiatives. Vijay Mahajan has started an initiative to bring the unbanked to the banks. There is a Govt and RBI stipulation on the banks to bring in more people in through their virtual branches. This new initiative is helping our youth.

Another initiative is the First Village Factory concept. A garment factory has been set up. It is a challenge for us to make it a viable and we have added it to the portfolio of initiatives.

Previous interview – Anil Gupta – Founder of Honey Bee Network
New Year Message – Be a Seeker! Happy 2012
Latest Art work – Losing myself to you!

Stay tuned for more!

Part 1 of the interview with Padmashri Anil Gupta, founder of Honey Bee Network can be found here. Let us continue with the part 2 of the interview today.

Anil Gupta’s TED talk on India’s hidden hotbeds of invention can be found here.

Me: Sundar Rajan G S
AG: Padmashri Anil Gupta, Founder of Honey Bee Network

Me: The way I see Honey Bee Network is that.. it is trying to build an ecosystem to facilitate grass root innovations.. Sustainability of such ecosystem would require an organization in the ecosystem.. which ensures the quality of the goods & services meets a certain minimum standard.. Do you have such players at all.. How do you ensure that the goods and services created are of good quality?

AG: Fair point.. For example, take a food product.. We will not accept a lower quality product just because it comes from them.. We have to meet the minimum standards.. This is where we need institutional support for testing the product.. But what is happening is that.. testing of quality and regulatory requirements are quite expensive.. Many innovations cant afford these.. For example, a small tractor innovator cannot afford the same price for testing as a big tractor.. While the standards to be met have to be the same.. the cost of testing have to be different..
I keep writing about this to various authorities.. reading it in council.. I am sure someday a solution will come.

Me: In the polycentric model of innovation.. do you see the concerns of reinventing the wheel across different groups.. What I mean is.. there are going to be same innovations being made.. same mistakes being made at different parts of the world! How often do you see this? Do you see challenges in knowledge seeping through from one set of learners to another?

AG: Yes, we share ideas.. I do walks across different parts of the country to share ideas from one region to the other.. Recently, I was in Meghalaya… I have walked in Assam, Andhra, Kashmir.. in 22 states of our country.. And all we do there is to diseminate ideas from different parts..

To increase the diffusion, we work with ICAR – the agricultural research centers.. These can be science centers where people can come and see various ideas in action.. I do believe in the need for large scale trial and demonstration..

Me: How do you think common man can contribute towards increasing innovation and thus improving the lives of the people behind such innovations..

AG: I think every person irrespective of place & profession can contribute to this ecosystem.. Say for example, if you work in Govt office in Tamil Nadu, when you get free time in the evenings.. you can translate the information in tamil .. or translate the information from tamil to other languages.. This way.. his or her community can get the information.. You can send CDs to villages.. to the village school you have come from.. do a video conference to school children.. one person can reach many many school students that way.. so there are many ways one can contribute.. So, one can help in dissemination of information and inspiring people.. inspiration is also very important..

For example, you are can be a illustrator.. I have seen your cartoons on the website.. You can probably help in propagating ideas through comic strip…

If you are scientist.. engineer.. or a website maker.. spanish person.. german.. anyone can contribute.. You can get the ideas across to the different parts of the world! There is no one who cant contribute to this ecosystem..

Me: What is your message for Indian youth..

AG: I would say please identify & empathize with problems of people in this world! This as a global citizen.. Dont be interwined in your own world! Make this world a society which is empathetic.. Experience the pains of others and not just live on your own..

Please make an effort to overcome habitual inertia.. In Rajasthan, a 7th std student Md. Anzar came up with a tool to sort rice.. He lives in slum and had seen his mother do this.. This saves a lot of time, effort & energy..

Sow the seeds of impatience and contribute to the larger good of the society!

Me: Thank you very much sir. Thank you once again for your time.

Readers, hope you enjoyed this conversation with Mr. Anil Gupta. Previous interview with Padmashri Anandha Shankar Jayant – Renowned dancer and figher of breast cancer can be found here.

All interviews can be found at: Coffee With Experts.

In today’s show in search of role models, CWS introduces you to a person who created Honey Bee Network to support grassroots innovators who are rich in knowledge, but not in resources. Please join me in welcoming Padmashri Anil Gupta. Mr. Gupta found ways of capturing inventions at grass roots, writing them up for a worldwide internet audience, getting the most ingenious ones manufactured so that the inventor can benefit financially from an idea which previously might have helped only friends and relatives. This is the concept of Honey Bee Network, which now has over 100,000 inventions and discoveries on its website – http://www.sristi.org/hbnew/

Anil Gupta’s TED talk on India’s hidden hotbeds of invention can be found here.

AG: Padmashri Anil Gupta, founder of Honeybee Network

AG: Sure.. The concept is actually more than 24 years old.. I have been studying studying creativity of people since 1980s.. In 1984, I was working on how farmers solve problems in such a high risk environment.. In 85 – 85, I was in Bangladesh, trying to study farmers and farming system research.. I came across a vast range of innovations.. But hardly any one of of them got the due attention.. When I came back, I wrote various reports about the same.. all these reports didnt seem enough to me in terms of giving back to the people from I studied the ideas.. I wanted to do something more.. I had that guilt sown in me.. That is when the thought came about the interaction between the flowers and honey bees.. The pollination of flowers by honey bee is a mutually benefitial process.. This acted as a guiding priciple of the network.. It slowly started identifying creativity in 1999.. By 2000, Shriti was set up and was announced in budget.. A microventure financing was set up in 2003.. Many have heard of venture financing.. This is the something similar, which looks for innovation from the informal sector.. Last year, technology acquisition fund was set up when we acquire innovative solutions and take it to the next level..

Me: You have witnessed a number of amazing innovations in the bottom of the pyramid.. Like the coconut tree climber to mobile washing machine.. What in your opinion is the driving force for such inventions.. Is the necessity indeed the mother of all innovations or do you see any other of factor influencing it..

AG: First of all, it not correct to use the term “Bottom of the pyramid”. It not a fair term. They might be at the bottom of economic pyramid. That doesnt mean that they are at the bottom of every pyramid.. we are distancing ourself from them by using such terms.. Companies are trying to sell things to them.. But where will they get their money to buy things if they cant sell what they produce.. We need tools, techniques and institutional support..

If you look at the inovations at lesser known hot beds.. First there is motivation, which in turn leads to initiatives.. and that will lead to innovations.. There can be a number of triggers which change motivation to initiative.. but for translating the intiative to innovation.. there is a need for favourable social, ecological & institutional systems in place..

Having showcased these innovations, we still dont see massive effort in this direction.. of the 60,000 Crore budget, only 8 crore was allocated for these initiatives.. That too was allocated last year.. before only 1.4 crores were allocated.. Institutional support is very scanty.. True potential is not yet harnessed yet.. Growth of the Indian economy itself wont include the entire society.. We need to think how to reduce this widening gulf.. And their innovation provides this possibility..

Me: What are the key challenges you see for such innovations? Does it attract a critical mass to support itself if such ideas are translated into ventures.. Although scalability is a secondary issue, there must be self sustainable local acceptance in the first place.. In other words.. Do see sufficient market for such innovation to survive..

AG: There are a many challenges to overcome.. many bottlenecks to overcome.. first and foremost, financial resources are very scanty.. Except Futures Group, no other large corporation has an inclusive CSR.. secondly, if you see.. the rate at which these innovations add value is quite slow.. There are constraints in finance, design, capacity etc.. Unless people conserve these innovations, we can only go so far..

Here is where I think technology should be linked to value adding activity.. For example, in www.techpedia.in 104,000 engineering projects are there.. about 50,000 students across the country are participating in projects which assist small & medium enterprises in the informal sector.. Mr. Mehta, a student who started this is now leading this initiative.. Every engineering student should define the problem and solve a problem for society.. This should be made a part of every corriculum.. Solving such micro problems helps in innumerable number of ways.. there are projects in crop growth, vet. medicine, plot growth.. etc..

Advancements are encouraging to push the affordability frontier.. We are coming up some really amazing low cost products.. For example, a wind mill was developed to pump water at just Rs. 65,000/- Two innovators made a Rs. 5000/- wind mill for their paddy field.. This was made in Bamboo.. There are solutions to reduce the cost.. in pollution.. in pest control.. safer & affordable technologies are being developed.. most importantly.. accountable technologies are being developed..

Me: What about the scale? Do they self sustain?

AG: Agreed.. Scale is necessary.. But there might needs, which only 500 people in the society might need.. Denying them a solution, just because there is no scale.. is just unfair.. If demands of such small groups are not met, there are social strifes and unrest.. This is where state and markets become helples.. Heterogeniety and diversity is not bad.. For the sake of scale, everyone cannot wear the same dress.. eat the same food.. like the same music.. Sure, they might bring down the cost.. But is such a life worth living? How will we innovate.. Different thinking is good.. You shouldnt kill the golden egg just because you want scale.. Neighbour community is as important as 100,000 acres.. Scale is important, we welcome it.. But it should not be a necessary condition.. We have 130,000 post offices across 650,000 villages.. We can use this as a way of sourcing and diseminating ideas.. Some of our ideas do have scale.. I have written quite of few of them on my blog..

Continuing the part 1 & part 2 of the interview with Padmashree Ananda Shankar Jayant, today we have the part 3 of the interview with Mrs. Ananda Shankar Jayant

Please find the TED Video of Mrs. Jayant here.

Me: Sundar Rajan G S
ASJ: Ananda Shankar Jayant – Padmashree Awardee – Contribution to Arts

ASJ: As I said, even during chemo therapy my husband’s advise, of ‘ Think of it as Amrutam”, really helped. I have been giving full-fledged dance performances soon after surgery, during chemo therapy and during radiation also.

Yes your body does take a toll during chemo, but half the battle is in dealing with the mind.. If you are going to allow your mind to succumb to the bodily changes and weakness, then that will be one’s reality, but if you say to your mind, that this is good for you, and the weakness etc is only for a short phase, then immediately you get on top of the situation.

Further, focussing on the good that is expected to come out of the chemo is better, than focussing on the side effects.. Think of it as Amrutham.. nectar.. and whoever said that life giving nectar has to be sweet??!!
It is important during treatment, to focus on happy things, and not watch every miserable story being dished out on TV.. It is also important to keep the mind otherwise occupied, by reading, listening to music or whatever animates you (mine was dance), and not wallow in self pity.. that leads you no where except to more misery.

It is good to get a clutch of funny movies and watch them! It is also important not to give the cancer TOO much importance.. I said.. ‘Hail fellow well met but I really do not have time to indulge you!’

Remember, whatever you give attention to is your reality.. so focus on the good, and good will emerge dancing during therapy both my Doctors (Dr Raghuram a well known oncoplastic breast surgeon, Dr RV Rao, medical oncologist, and Dr Nalini, radiation oncologist) and my family have been of great support. They never stopped me. I was advised to listen to my body. If I felt I could, they didn’t stop me. On the other hand my family went all out to support me and be with me during such programmes. My mother in law, shifted to our home to take care of my diet, which needed to be a highly nutritious diet. They even accompanied me during my programmes.

A lot of emotional support from my sister, and friends especially from the dance world, helped. It is important for the family, to not mope around and look at the cancer patient like death incarnate!
They need to take it in their stride and go about their routine as normal.. Usually in such cases, I have noticed. that families, go around with the longest faces possible..:) and will go to visit a cancer patient and sit there recounting all the cancer patients, they have heard about, who died…??!! Can you imagine what that can do to the morale of the patient?

Visitors too need to observe prudence and know what to talk! .. reg strength
My biggest source of strength has been my husband Jayant Dwarkanath. He has never allowed me to lose faith. He himself has been so confident and sure, that it gave me immense strength. Sometimes when I would be miserable (especially during chemo therapy), he would cheer me up. Never once has he shown despondency. His strength has been supreme.

Further, he never stopped me from dancing, or doing anything I could. He never made me an invalid. On the other hand he would goad me to be up and about. This helped in a big way, as I never felt I was a patient undergoing a lengthy treatment. Only, patience, positive outlook towards a healthy future.I never questioned: Why me? Did I ask myself the same when I got national awards like the Padma Shri? So when I could take those with pride why can’t I take an illness with equal acceptance?

I would like to request all women over 35/ 40 years of age to take their health seriously and go for periodic check-ups. A mammogram after 35 years is an absolute must. An early diagnosis is the greatest gift you can give yourself or your loved one. So, men, instead of buying your wife/ girl friend/sister/ mother/ mother-in-law that pattu saree, gift her a mammogram, once every year. This is the best gift you can give any woman..

Me: How are you doing now? Have you fully recovered from cancer? Or you on medication?
ASJ: My 3rd year review went well. Im still on oral medication and this will continue for a few more years.
Me: Glad to hear that maam.

Me: Art is often considered as liesure.. But you are using it as a medication.. I also interviewed a lady by name Usha Rai.. who started painting at 60 to over come her accident trauma and has successfully conducted an art exhibition.. What is your view on this..?

ASJ: I disagree with you.. Art is not leisure.. Art is life.
And life will throw challenges at you. Art helps you ride out the challenge, and also learn from the challenge

Me: “Your mind is your final frontier!” I loved your words.. I find that people who are content in life.. have some kind of spiritual connection.. though various forms.. some find their connection through the work.. through art.. through service to man kind.. but this is very common.. What are your thoughts on spiritual development..

ASJ: Yes you are what you think! I think we as a race have started to focus so much on the outside world, that we spend all our time reacting to every little input from outside. Instead if we act upon the world, by having our mind in our control, then you paint the life you want and visualise

Me: What are your other initiatives or projects that you are working on..?

ASJ: Other than dance I love Carnatic music. Though I have learnt it I only sing at home. I have learnt the veena and am keen on pursuing it again. I read a lot.. anything.. fiction to philosophy. Im now also the convenor of Asha a breast cancer support group. Asha is a cancer advocacy and support group of the Ushalakshmi breast cancer foundation. Such groups are needed, because it helps, in patients and their families, understanding the illness, its recovery process, and also the million nitty gritties of questions that assail patients and their care givers.. such as what REALLY happens during chemo? Where can I get a smart wig? When will my hair be back? What diet should I take? What exercise can one do? Where to get a prosthetic bra(for those with mastectomy) Yoga lessons, meditation classes, etc, and sharing stories.. all these create a huge wellspring of confidence, which is usually at its lowest ebb for the patient Also Asha, raises funds for helping underprivileged women with screening..I think such initiatives, are very important, and takes the edginess off cancer

Me: Thank you very much man. You are indeed an inspiration and a great role model for Indian Youth!

Please find the previous interview Mr. Guruprasad – Collector of Rare photographs here. All interviews on CWS can be found here.

Continuing the part 1 of the interview with Padmashree Ananda Shankar Jayant, today we have the part 2 of the interview.

Please find the TED Video of Mrs. Jayant here.

Me: Sundar Rajan G S
ASJ: Ananda Shankar Jayant – Padshree Awardee – Contribution to Arts

Me: You mentioned that you teach adults as well.. What should a “late beginner” seek to get out of the art..?

ASJ: Students can join me from the age of 7 years. However I also have students who come to me who say when they are 25 years .. after they have a job! That’s ok as long as the student is willing to work hard on a recalcitrant body which is going to ache a lot more than if he/she started learning at 7years! The need is for the elder student to supplement the dance class with other body training such as yoga, running etc to overcome the pain barrier that comes with taking up a physical art late

Me: Art for the sake of learning art is indeed a very noble intention.. What about the livelihood.. what is your advice for people taking up arts professionally..?

ASJ: Yes in today’s world art is still a difficult livelihood proposition. My advise would be for youngsters, to find a good job that will put the bread on the table, and then also pursue art as a dual career.. It only needs extraordinary time management skills and organizational acumen.. But it is possible !

Me: In Indian art, and to some extent, eastern culture.. art forms are taught by replicating a certain method or grammar.. but in the west.. art form is more free.. where every artist.. “finds his or her own style”.. what your thoughts and views on the methods of teaching and learning arts such as dance..?

ASJ: I think each art form derives from the geographical, historical, and sociological situation that it is placed in. Both have their merits. Having said that, in the eastern arts, there is as much improvisation possible too. Every musician does this at every programme in the form of neraval or kalpana swaram! Dancers too, learn the grammar and idiom, as taught, and then by making it their own they carve their own self into the art.

Me: How did you react to the news of cancer.. I dont know what question to ask you here.. Can you share your entire experience… your initial reaction.. how did you cope with it.. the struggles.. the challenges.. the support.. and coming back to normal health.. what does it even mean to go through all these.. reaction & sympathy from people.. self pity.. physical problems.. hair loss.. The “Why should it happen to me” feeling.. how did you get over all these.. ?

ASJ: After feeling a small lump in my left breast on the very eve of going to USA for a Kuchipudi Conference, I went immediately to get a mammogram done, and left the following evening to USA. On my return after 2 weeks, my husband met me in Mumbai, and slowly told me that the biopsy was malignant. He had fixed up my appointment with the Doctor the very same evening, of my return.

Like all others, initially it did upset me when quite suddenly, I was diagnosed with cancer of the breast. But then, it was really for a brief spell. I decided not to allow something as transient as an illness to takeover me and my mind.

The very same evening I came home and told myself and my family 3 things
a) I will ride this out, and I won’t allow the cancer to ride me
b) I will not say Why me? I will not ask God or anyone , if I was being punished for something
c) This is only one page of my life and I will not allow this to impact the rest of my life

Further, I unburdened myself from the secrecy associated with it. I myself told the world about it. This way , whoever came to see me came with cheerful faces and not with tears! I told myself, that It has got to be handled like any other disease. It is not so insurmountable that I succumb to it and give way to pessimism. This thought entered my mind and I got ready for the surgery like I go about staging a new choreographed piece.

It is this very positive outlook that helped me come out of a major surgery and within 3 weeks , I conducted and presented a five-day Sangeeta Natak Akademi national dance festival on one hand, while rehearsing with my students on the other.

Actually I was less worried about the therapy rather than the gap it was likely to create in my scheme of things. And that is because of the long-drawn process of treatment. My husband Jayant had something really nice to say at this point. That I should take this period as a holiday.. I did precisely this. Even during chemo therapy my husband’s advise, of ‘Think of it as Amrutam”, really helped. I have been giving full-fledged dance performances soon after surgery, during chemo therapy and during radiation also. I also conducted regular dance classes at my institution Shankaranda Kalakshetra

Readers, hope you enjoyed this part of the interview. Stay tuned for the last and final part where Mrs. Jayant talks about the way she overcame cancer.

Please find the previous interview Mr. Guruprasad – Collector of Rare photographs here – Part 1 & Part 2. . All interviews on CWS can be found here.

Today we have a special guest.. someone for whom dance is an integral part of life… someone who lives and breathes dance.. A strong woman who danced her way out of cancer! Please join me to welcome the renowned classical dancer and a generous contributor to the field of arts – Padmashri Ananda Shankar Jayant!

When I first saw Ananda’s TED talk, I was awestruck! When I wrote to her, I was pleasantly surprised to find an affirmative answer for an interview from Ananda Maam. And today I hope to share with you some of the anecdotes from the interview with Ananda Shankar Jayant – A true role model for Indian Youth!

Me: Sundar Rajan G S
ASJ: Ananda Shankar Jayant – Padshri Awardee – Contribution to Arts

ASJ: I am a Tamilian, and hail from the Tirunelveli district. However my family have settled in Hyderabad. Hence my education and upbringing has been in Hyderabad only.

My father Sri GS Shankar, was an officer with the Indian Railways. My mother Smt Subhashini Shankar, was a teacher with Keyes High School, and was a well known musician and violinist.

Born in a middle class Tamil Brahmin family, Tamil by birth but Hyderabadi in upbringing, I am a product of multiple cultures. My school education has been at St Ann’s High School, Secunderabad, and later on at Kalakshetra.
I have thus imbibed the best of both worlds, and am a true cosmopolitan.

My passion for dance began early in life – a chance meeting at the Subramanyam temple in Secunderabad, when I was 4 years old – a comment that ‘This child’s eyes are large – you must teach her dance’, had my mother Subhashini Shankar enroll me with Smt Sharada Keshava Rao. I later trained with Sri KN Pakkiriswamy Pillai (brother of Sri KN Dandayuthapani Pillai) who then taught dance in Hyderabad.

Invited on a scholarship to Kalakshetra, after winning the All India Gold Medal for dance in the Junior section, I joined Kalakshetra, Chennai at the age of 11 years. During one of our summer vacations when we visited our grandparents in Chennai, during the hot summer of Madras in May. My mother and I wended our way nervously into the courtyard of a building in Tiruvanmiyur. We waited outside the office, after having sent in a message, eagerly waiting to be called in. But we were not summoned inside. Instead, the very person we wanted to see came out to greet us.

The lady was none other than Rukmini Devi Arundale, the Director of Kalakshetra. After the traditional namaskaram, I remember asking her naively to bless me to be like her someday. “No, no, I bless you to be greater than me”, said the beautiful lady, swathed in a maroon silk saree, with her freshly washed hair falling down on her shoulders. What a blessing! This is really one unforgettable experience of my life.

She, Rukmini Athai, had made the decision for my parents and me. She scoffed at the worry of my parents about putting me into a hostel. She promised them that I would be safe and well looked after. I was admitted into Kalakshetra , to take up dancing full time. Such was the force of Rukmini Devi’s personality that it affected all who came within her radiating aura.

I joined Kalakshetra, exchanging pinafores and school bags, maths and science classes for Pavadai – Davani and dance classes. It was a sea change! Life in a hostel for most students in the first few months can be traumatic – and for me the different life styles that I was encountering in a matter of a few days were enormous. Yet, Kalakshetra, and Athai, enveloped me in their bosom, with lots of love and affection; that the transition from convent school to traditional Kalakshetra was ultra smooth.

Growing up in Kalakshetra, was great fun. Learning Bharatanatyam from Padma Balagopal, Sharada Hoffman and Krishnaveni Laxman was wonderful. Crying on Neela Aunty’s (Neela Sathyalingam) shoulders for a role in a production that did not come my way, listening to Jaya Teacher (N.S. Jayalaxmi) expound on the Nava Rasa or Tala Dasha Prana, tiptoeing into Peria Sharada teacher’s class for PG Diploma Theory, her giving us a detailed understanding and analysis for our roles in the dance dramas of Kalakshetra, learning from Janardhan Sir, Kaikottukali, as well as different roles in dance productions along with a brief introduction to Kathakali, learning folk dance from Anandhi teacher, perfecting concert roles with Krishnaveni Acca and learning philosophy from Shankara Menon Sir – He went on to compare my memory with his fabled memory power – Oh what a day that was – that too in front of the whole morning prayer.! O! What a life!

Life in boarding – friends from all over – studying by the dining room and common room lights, while others slept and I had exams coming up; actually quite enjoying the hostel food (I hated the upma though) sharing Avvakkai and Sohan papdi with friends, my parents receiving complaints that I laughed too much and read too much James Hadley Chase! Looking forward to my mother picking me up every 3 months to take me home to Hyderabad! O life was one roller coaster.

Being selected to participate in compositions such as Matsya-Kurma Avataram, Meenakshi Vijayam etc., when Athai composed was, I think the greatest learning a student of dance could ever dream to have. In retrospect, I think, it was being part of the coveted concert section, and participating in the various dramas in roles from sakhi, to Apsara, that I imbibed the aesthetics, the group dynamics, stage design, lighting, entries, exits group choreography etc., inherent in the Kalakshetra training.

I spent six years at Kalakshetra, learning Bharata Natyam, Carnatic music, veena, dance theory, philosophy etc., and acquired a Diploma and a Post-graduate Diploma in Bharata Natyam. I also learnt the grace of a firmly executed movement, the need to perfect the bodily stances and thereby forget the body and rise above it, to think, to create, to go beyond and to ascend to realms of a higher consciousness.

On my return to Hyderabad, I also learnt Kuchipudi from Sri Pasumarthy Ramalinga Shastry.

Simultaneously I started teaching. Interested parents wanting me to teach their children and my own interest in sharing my art – made me a teacher of dance at the age of 17 years. I began with six students and grew up with my young students. They call me ‘akka’, elder sister. My dance school in Hyderabad, Shankarananda Kalakshetra, now has about 80 students and the relationship is that of a large family, a true guru-sishya relationship. My students learn to balance the traditional with the modern, the static body with the soaring mind. They experience the freedom to feel, to know, to break all bonds, all barriers, in an effort to touch one’s self.

Some time when I was in Kalakshetra I think I realized that dance was my calling
My Natya journey is that of living in dance and with dance inspite of a full time career in the India Railways. I have been able to perform, teach choreograph travel etc, as a full time dancer would inspite of another very different career. This strength too has come to me from the dance itself..

Me: What do you think are the high points and low points of your dance career.. Can you talk a bit about it.. Can you also talk about Padmashri award and your contribution to the field of arts..

ASJ: I think the best thing that ever happened to me was my 6 years training in Kalakshetra The six years at Kalakshetra, taught me a way of life – where dance transcends mere skill and becomes one’s very persona. My parents were great inspiration. The very fact that they pulled a high performing eleven year old out of school, to pursue dance, with schooling being utterly nebulous, trusted me enough to complete my education on my own, and backed me throughout, in spite of middle class worries about money – knowing fully well that this chosen career could well not be highly paid, is a great blessing and speaks of a family’s commitment to the art.

In today’s global world I am a composite of many cultural influences. My memories and life’s experiences need to be reflected in my language – which is dance. My personal, political and social concerns need to find voice in my dance – for that’s the way I speak, the only language I know. I as an artiste cannot live on the external fringes of society, irrelevant except as mundane entertainment. Sometimes I feel we artistes live on another orbit. My dance cannot just be pretty, beautiful and artistic. I need to voice my concerns. I need to integrate my artistic voice into the fabric of society. Thus I questioned myself:

Can I divest myself from the problems that surround me?
Can I live in an ivory tower and be just a pretty dancer?
Can I relate to traditional poetry with contemporary sensibility?

What About Me?, which premiered in 1999 was my reaction to the scarring gender issues, that surround us. Can I be inured and unaware of happenings around me? Can I eschew and ignore gender issues, racial and religious violence, and caste polemics? Is dance a mere bread winner, a performing profession? Or is it my life breath?

If it is my life breath, then I told myself, I cannot divide myself into neat compartments – espouse and speak up for causes dear to me but not relate them to my dance. Sure, to me dance exists on multiple levels, the physical, the esoteric and the spiritual. Sure, I relate indelibly to the jeevatma – paramatma theory and the bhakti bhava (devotion) in dance, training as I did from Kalakshetra. But, this search, this quest is a personal one. Yes, my art will lead me to spiritual upliftment, but my dance has also to touch base with the issues that surround me. I cannot look at the burnt face of a dowry victim and not allow it to find a voice in my dance.

Not only have I dealt with gender issues, but also with a fun production like Panchatantra. My belief is that dance is on one level my spiritual journey, but it is also my greatest communication tool. My dance is my best language. And yes dance really is my life breath! Why? How can I answer, why or how we breathe??!! When I saw my name in the Padmashri list on 26th January 2007… I couldn’t believe it.. I immediately missed my mother, and Gurus. How they would have been proud of me!

Readers, hope you enjoyed the part 1 of the interview. Stay tuned to hear more from the Ananda maam in part 2 about her tryst with Cancer and how she overcame the same. Previous interview with Guruprasad – Collector of Rare Photographs can be found here – Part 1 & Part 2.

All the interviews on Coffee With Sundar can be found here.