Sound: Christian Beusch, Shiju, José Sojen, Martin Witz
Editing: Loredana Cristelli
Music: Mafalda Arnauth, Giuseppe Laruccia, Ajit Singh
Production: Reck Filmproduktion
Rajas’ Journey (German Title: Rajas Reise)
by Karl Saurer
The film recounts the mysterious story of the Indian elephant Raja that journeyed through the forests of Kerala via Lisbon to Vienna in the year 1550. The reconnaissance trip made by Gandhi-activist P.V. Rajagopal on Raja’s route provokes surprising associations. The film reenacts the little elephant’s imprisonment, training and appearances at temple ceremonies – until he was ambushed as a status symbol by European rulers. It is a story of misappropriation that continues today.
Karl Saurer
Born in 1943 in Einsiedeln. Studied in Zurich, Munich, Cologne and Osnabrück. 1979 Receives MA in media, literature and psychology. Since 1970 works as film publicist in Switzerland and Germany. 1980-84 Works as lecturer in the Script Department and as staff member at DFFB (Deutschen Film- und Fernsehakademie Berlin). Lecturer at universities and film schools. Screenwriter and director of fiction and documentary films.
Born in 1947 in Calcutta, Pandit Swapan Chaudhuri received tabla training from early childhood. He was later trained in the Lucknow Gharana with Pandit Santosh Krishna Biswas and today is one of the best known tabla players of India. He is highly regarded both in solo performances as well as having accompanied some of India’s most distinguished musicians, including Ustad Ali Akbar Khan (1922-2009) and Pandit Ravi Shankar (1920-2012). Swapan Chaudhuri is currently the Director of Percussion at the Ali Akbar College of Music in San Rafael, California, and also teaches during the annual seminars of the Ali Akbar College of Music in Basel, Switzerland. (Source:Ali Akbar College of Music)
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“…the controlled virtuosity of Swapan’s (Tabla) playing always implied that if he cared, nothing could stop him. What display he put on…!” —San Francisco Chronicle, USA
… with Rasid Khan (midth) and Hariharan (r.)
… with Pt.Jasraj (l.) and flute player Pt. Hariprasad Chaurasia (r.)
… with Bimsen Joshi (midth) and Ali Akbar Khan (r.)
… with Sitar maestro Shujaat Husain Khan, r. (photo credit: Ian Tong @ AllMusic.com)
Esteemed the world over for his purity of sound, depth of knowledge, rhythmic creativity, and dedication to teaching, Maestro Swapan Chaudhuri is considered one of the greatest living musicians and tabla virtuosos of our time. He continues to accompany all the eminent classical instrumental and vocal musicians of India in addition to collaborating with artists of every world music tradition and genre. His dedication to teaching tabla worldwide has brought him global recognition and defined him as a true master. He has made tabla more accessible, enabling this North Indian classical drum to take its rightful place as one of the most versatile and sought after instruments on the planet.
As a soloist, Swapan’s nuanced and lyrical ability to bring even the most complex and challenging compositions to life gives audiences a rare glimpse into the depth and majesty of tabla’s vast repertoire. Both his accompaniment and his recordings are prized for their clarity and improvisational beauty. Two records, Legacy (1997) and Passing on the Tradition (1998), were nominated for Grammy awards, on which Swapancollaborated with Asha Bhosle and Maestro Ali Akbar Khan.
Swapan is cherished and honored in his homeland of India, where in 2011 he was awarded a National Lifetime Achievement Award, the Bharat Ke Sangeet Ratna, by the Art & Cultural Trust of India. He is a recipient of the prestigious Sangeet Natak Academy Award (1997) from the Government of India. Internationally, Swapan is the recipient of the American Academy of Artists Award and is nominee to Percussive Arts Society Hall of Fame, distinctions reserved for only those musicians who have attained the highest level of artistry.
As Director of Percussion at the Ali Akbar College of Music for over 30 years and Department Chairperson / Senior Faculty of the World Music Program at the California Institute of the Arts for the past 20 years, Swapanji has taught tabla with an unmatched level of dedication. It is an extension of the kind of intensive and dedicated teaching that was bestowed upon him by his own legendary Guru, Acharya Santosh Krishna Biswas of the Lucknow Gharana (music school), whom Swapan learned with since the age of five in Kolkata, India. It was his early development as an accompanist to the great sarodist Maestro Ali Akbar Khan that led him to become the accompanist of choice for India’s greatest classical artists including Pandit Ravi Shankar, Ustad Vilayat Khan, the late Pandit Nikhil Banerjee, Ustad Amir Khan, Ustad Amjad Ali Khan, Pandit Bhimsen Joshi, Pandit Jasraj, L. Shankar, Dr. Balmurli Krishna, Pandit Birju Maharaj, Dr. L. Subramanium, Lakshmi Shankar, Pandit V.G. Jog, and many others. In 1981, Swapanji was invited to the United States by Maestro Ali Akbar Khan to serve as Director of Percussion at the Ali Akbar College of Music in San Rafael, California, where he continues to teach today.
Swapanji’s meteoric rise as a performer and teacher of Classical Indian music led to international musical collaborations with such renowned artists as Stevie Wonder, Mark O’Connor, John Handy, Larry Coryell, John Santos, the Lian Ensemble, the reputed Persian musicians Alizade and Kayhan Kalhor, the African drum master, Malenga, and the renowned guitarists, Vlatko Stefanovski and Miroslav Tadic.
He has been the featured artist at the San Francisco International Music Festival (2010 – 2012), the Los Angeles County Museum of Art exposition on the city of Lucknow (2011), the Darbar Music Festival in London (2008 – 2012), Global Encounters at Carnegie Hall (2007), and numerous international music festivals of cities including Sao Paolo, Rio de Janiero, Sydney, Tokyo, Toronto, Kuala Lampur, Stuttgart and Berlin. He has composed for several percussion ensembles, featuring up to 20 world percussionists, which have received tremendous appreciation from Western as well as Indian audiences.
He is associated with many American and European Universities as a visiting professor, and maintains a rigorous touring, teaching and recording schedule throughout the year.
Professor Sripada Pinakapaani shortly S. Pinakapani (Telugu: శ్రీపాద పినాకపాణి) (August 3, 1913 – March 11, 2013) was a medical doctor, administrator, professor in medicine, and carnatic musician.
Pinakapani worked as Assistant Professor at Madras Medical College from 1944 to 1949 and later at Andhra Medical College. He opted for Andhra Services and resigned to rejoin in the same post in 1951. He held the position of Professor of Medicine on 17 May 1954 and later transferred to Kurnool Medical College on 26 January 1957 and retired in the same position on 2 August 1968.
Pinkapani had a successful career performing at major festivals and concerts. His disciples include carnatic vocalists, Nedunuri Krishnamurthy, Nookala Chinna Satyanarayana Malladi Suri Babu, Malladi Brothers and many others. He wrote several books on carnatic music and Gaanakalasarvasvamu ran multiple volumes which had every minute detail of krithis. (Source: Wikipedia.org)
Dr. Sripada Pinakapani is a physician, musician and a composer. But above all, he is a great guru.
Tradition (should) perceive not only the pastness of the past but also its presentness — T.S. Eliot
Dr. Sripada Pinakapani. Photo: The Hindu Archives
Dr. Sripada Pinakapani is a musical visionary. The guru of Voleti Venkateswaralu, Srirangam Gopalarathnam, Nedunuri Krishnamurthy and Malladi Suri Babu, turned 100 on August 3. Day-long celebrations were held at Sri Krishna Gana Sabha, Chennai, to commemorate this event.
The celebrations began with the screening of a documentary titled ‘Gana Rishi’ which captured the essence of Dr. Pinakapani’s life filled with music. Mala Mohan, who has made this film, focussed on bringing out the unique personality of the Sangita Kalanidhi and Padma Vibhushan awardee. She presents the musician-physician’s innate curiosity, vividly, and throws light on a career that smoothly combined his twin interests. (Interestingly, in his salad days, Dr. Pinakapani was a body-builder and a tennis player too.)
The film highlights many interesting facets of the man: he admired Ariyakudi’s crispness of gamaka singing; he occupied the Chair of Professor at the Madras Medical College. Vidwan Mudicondan after listening to Panigaru, wondered, “If he treats Sarasangi with such depth, what would he do with Thodi or Sankarabaranam?”
Violinist T. Chowdiah was so impressed by Pani’s singing that he remarked: “All that is learnt in a lifetime has been presented by this man at a such a tender age.” In the film, Panigaru demonstrates how a kriti like ‘Rama Nee Pai’ (Kedaram), when rendered at a slow pace, can project its entire bhava. He confesses: “I never taught music. It is only a sincere transfer of knowledge.”
Mala Mohan refers to Dr. Pinakapani as ‘a musician’s musician and a guru’s guru.’ His voice possesses an extraordinary mobility that is mellifluous.
In Chennai, however, he is better known as a musicologist than a performing artist. He has composed six varnams and tuned 108 kritis of Annamayya in a range of ragas. His colossal works have been published by TTD, and include notations for about 1,000 kritis by various composers, a book on Pallavis and another on Manodharma Sangeetham. The documentary signs off in style with Dr. Pinakapani rendering Surutti. As a narrator, Mala Mohan carries both conviction and clarity in her voice. The documentary screening was followed by a presentation by a group of students who rendered a varnam of Dr. Pinakapani and compositions of Annamayya set to tune by him. Akkarai Swarnalatha (violin) and Arjun Ganesh (mridangam) accompanied the group.
A disciple remembers
In the next session, Malladi Suri Babu spoke about his student days with with his guru. “The speciality of Pinakapani garu is his patantara.”
The first kriti Suri Babu learnt directly from Pinakapani in 1984 was ‘Sathatham Taavaka’ (Swati Tirunal, Kharaharapriya). Panigaru added special nuances even to commonly sung kritis such as ‘Balakanakamaya’ (Atana) and ‘Sri Raghuvara’ (Khambodi), which made listening to them an enthralling and educative experience. Padam rendering was Panigaru’s forte. He, who along with Voleti, popularised this genre of music, said Suri Babu and then presented an alapana of Ragupriya, which Dr. Pinakapani considered to be the most difficult raga.
“Raga alapanas as sung by Panigaru never commenced at the base (aadhara) shadjamam. They arrived at it much later. No mean feat for a vocalist,” said Suri Babu.
A panel discussion followed with Nedunuri Krishnamurthy, ‘Spencer’ Venugopal, Malladi Suri Babu, Prabhu and the Malladi brothers. It focussed on Dr. Pinakapani’s teaching methods. The panellists said that according to Panigaru, raga expertise is acquired only by singing keertanas. If a rare raga needed elaboration, Pinakapani’s search would begin from the swarajathi, and move to the varnam or any compact kriti in that raga. A ‘singing doctor’ as he was widely known and accepted, this guru on the insistence of Dwaram Venkatasami Naidu lent his ears to Ariyakkudi and the nagaswaram. Later, Rangaramanuja Iyengar led him to Veena Dhanammal. These shaped Pinakapani’s musical personality.
A portrait of Veenai Dhanammal, legendary Veena player of Tamil Nadu (Photo credit: Wikipedia)
“Sometimes when I hear gurugaru sing, it is like I am listening to the veena, a gaathra veena,” Nedunuri reminisced.
On the occasion, ‘Sathavasantham’, a CD by Mala Mohan, was also released. It is the recording of a concert by Dr. Pinakapani held in 1984 at the Shanmukhanandha Hall, Mumbai.
The celebrations came to a close with an hour-long concert by Nedunuri Krishnamurthy who sang ‘Lambhodhara’ (Mysore Vasudevachar, Khambodi), ‘Karunanidhim’ (Kannadagowla, Annamayya), ‘Thanavarithanamu’ (Tyagaraja, Begada), ‘Gayathi Vanamali’ (Sadasiva Brahmendrar, Durga) and ‘Pathikihaarathi’ (Tyagaraja, Surutti).
Here, Nedunuri pointed out the subtle differences between Abheri and Kannadagowla and certain singular usages in Begada that were made known to him by Panigaru and demonstrated them.
Malladi Brothers provided vocal support. H.N. Bhaskar (violin), K.V. Prasad (mridangam) and Guruprasad (ghatam) were the accompanists. The energy levels of Nedunuri remained high till the very end.
Keats said, ‘Poetry should please by a fine excess.’ That applies to music as well.
Mosa Walsalam Sastriyar(1847 – February 20, 1916) was born in Thirupuram near Thriuvananthapuram, Valsala Shastriar was a poet, music composer, singer and social reformer. His actual name was Mosa Valsalam. He was christened “Valsala Shasthri” by the Metropolitan of Malabar in 1883 after listening to his music & discourse.
He has to his credit a large number of literary and musical works.A few of them were published during his lifetime itself. They include “Gitamanjari-Garland of Songs” (1903) and “Dhyanamalika-Meditation Songs ” (1916). Later on “The collected works of Valsala Shasthriar” was brought out by Mr. J.John, his grandson, in 1958.
Copies of the works published in 1908 and 1916 were brought to light by Dr. (Miss) Pushpita John, former Head of Dept. of Education and Dean, Faculty of Education, University of Kerala, a descendent of Shastriar. ‘Gita Manjari testifies Valsala Shasthriar’s in-depth knowledge of Carnatic music. Some of them have the “Chitta Swaras” attached to them. Only a person having real expertise in classical music can produce such compositions. “Cholkottu” like those in the compositions of Deekshithar and Swathi Thirunal have been attempted in some compositions, “Kaithukki Parane” in “Saveri-Rupakam“, “Ananda Kirtaname” in Shankarabharanam-Rupakam contain this embellishment. The first composition is presented as a ‘Chithrapadyam’- a matrix of letters arranged meticulously to generate the poem (“Neethithakaya” in Thodi). The swara notations are unfortunately not included. Even some of the raga and tala specifications seem to be confusing. “Bandhu Varadi” is possibly “Pantu Varali”. In some compositions, raga is specified as ‘English’. These compositions are probably set to Shankarabharanam and meant to be sung in the Western style. This, perhaps, is an indication that only songs specified as ‘English’ are meant to be sung in the Western style and the others are pure Carnatic classical compositions.
Legacy
The Moses Walsalam Sastriyar Chorus was formed by Mr.Richy Walsalam as a tribute to his contributions to music.
BHUBANESWAR: Three genres of Indian classical music – Carnatic, Hindustani and Udra Paddhatiya – were presented at the annual Tridhara national classical music conference at Rabindra Mandap here on Sunday.
The festival was organized by city-based Swar Ranga, which imparts classical music training.
Pandit Damodar Hota… (photo credit: Swar Ranag)
“The objective of the concert is to promote and popularize the Udra Padhatiya style of classical music, which is originally from Odisha. Besides, we wanted to demonstrate similarities and differences between the three styles of classical music,” said Pandit Damodar Hota, instrumental in developing the classical style of music.
‘Raag Kedar’ was presented in the three classical music styles Carnatic, Udra-padhatiya and Hindustani by Tedapalli Loknath Sharma, Damodar Hota and Raj Kishore Acharya respectively.
“By inviting exponents of Hindustani and Carnatic music, I tried to convince them of the uniqueness of the ancient Udra style,” Hota added.
Very few Indian classical music maestros have elicited the kind of adulation, love and affection in both India and abroad that Padma Vibhushan Pandit Jasraj has. The celebrated exponent of Hindustani music is a doyen of Mewati gharana remains modest at 83 years of age, being in control of his voice, with music vibrating in the veins and nerves of his mind and soul.
In Chandigarh recently to perform at Tagore Theatre during a concert organised by the Chandigarh Sangeet Natak Akademi, Pandit Jasraj offered his comments on music. Belonging to the fourth generation of an illustrious music family, Pandit Jasraj was initiated into the field by his father, Pandit Motiram. He then underwent intensive tutelage under his elder brother, Pandit Maniram.
Married to former director Madhura, daughter of Bollywood director V Shantaram, Pandit’s children Shaarangdev and Durga Jasraj and their cousins Sulkshna Pandit and Jatin-Lalit are all accomplished in various fields.
Recipient of numerous awards, the legendary maestro says, “With its depths of tradition in primitive and folk regional genres, Indian classical music is both ancient and modern. For instance, many softening influences had been incorporated to complex genres such as Dhrupad gayaki, thereby paving a way for a more acceptable khayal gayaki.” The vocalist adds that Indian music, which comes from Hindustani and Carnatic schools, is scientific in structure and sublime in character.
The master performer, who is heads Pandit Jasraj Institute of Music, with seven centres in the US and two in Canada, discloses that there are more takers for instrumental music as against vocals from amongst 2,000 students. On the current trends, Pandit Jasraj comments that an increasing number of youngsters are turning to Indian classical music after facing disappointment in TV reality shows.
Belonging to Hissar in Haryana, Pandit Jasraj says he feels upbeat about the popularity of Punjabi music, especially in the Hindi film industry, with many songs inspired form the state’s folk music.
Before signing off, Pandit Jasraj remembers the loss that was dealt to the music world by the passing away of legends including Pandit Bhimsen Joshi, Jagjit Singh, Pandit Ravi Shankar and Mehdi Hasan. However, he feels that bemoaning the tragedies alone will not help. “We must imbibe the best of their traits, ideals and spirit, which I feel will be the best and eternal tribute to those legends,” says Pandit Jasraj.
… in tendency during last 1-2 decades we have seen Indian art (classical dance, classical music (Hindustani, Carnatic) progressing as an entertainment form. But let us remember, that by its origin and real purpose Indian arts never had been pure entertainment. By its origin Indian arts had been always political, too… in the sense of educational formats to create consciousness within the listeners and audience.
Artists of Indian classical music had been mediators between the supreme, the universe, the art itself as energetic form or as creator itself (like Indian (classical) music was seen as primary energetic form as universal creator itself) and the listeners. To say it simple: listening to Indian music targets at to become a real human being (in a positive sense) to find the true self being.
English: Anoushka Shankar at the Global Rhythm 15th Anniversary Party (Photo credit: Wikipedia)
In times of corruption (not only in India), in times of crucialities as we experience it these days with masses of cases of (gang) raping after the escalation in killing of a 23 young Indian woman in December 2012 its time to become political again, in the original sense…
This Sunday morning reached me the “coming out” of Sitar player Anoushka Shankar, daughter of Pandit Ravi Shankar, about her own sexual abuse – see following video. As I see it: Anoushka’s words are more than a protest or accusing a society. Indeed its a clear demanding: “Enough is Enough !“
The coming out of Anoushka Shankar about her ‘sexual abuse’…
India has to change as the world has to change we humans (in common and as whole) are destroying our planet misusing its resources. Where is the knowledge of centuries, wisdom of our ancestors and dignity of ourselves as ‘modern human’ in 21st century ?
Stand up, artists, teachers, directors, label owners, media producers in art, intellectuals, mothers & fathers and change this world into a better one… become politically ! – Especially I demand it from modern men to take action…. its not up alone to the women rights fighters as part of the women movement. Let us all re-union as humans following the original spirit of Indian arts… make this world a better place for every human soul !
Mahadev Desai (1892-1942) joined Mahatma Gandhi in 1917 and remained with him till Desai’s death in 1942. I came upon a very interesting account, inMahadev Desai’s diary, of a discussion between Mahatma Gandhi and Dilip Kumar Roy, in the end of January 1924. I reproduce that below.
Dilip, son of the well-known dramatist of Bengal, Dwijendralal Roy, visited Gandhi one evening. He had already earned abroad the reputation of a distinguished Indian singer. He had come in the morning and promised to return in the evening to sing some hymns to Bapu.
It was about 8 p.m. when he came. Dilip had brought his sitar. A good number of listeners had collected in the room. Sitting on a sofa opposite to Gandhiji’s bed he began singing a song of hymn to Krishna.
“O Lord! O Hari! Gopal! my Love!
Call me I pray to Thee above …
The moving sentiment in the hymn, the charming voice of the singer and the listners’ receptive mood filled the place for a while with the earnest loving entreaty made in the song. Everyone was, as it were, wafted to that blissful place and humming the following lines :
“Of hunger, thirst, I won’t complain.
Content with fruit I will remain”.
But even before vibrations of that son had died in our ears, the friend began the well-known song of Meerabai (Hindi Film, 1933), Chakar rakhoji, which thrills with the same ethereal air:
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“Make me Thy servant – the last stain efface
Of selfhood; be my life an offering
In song’s own bliss and bloom’s own loveliness.
For beauty holds a mirror to Thee, O King,
Of Beauty’s ultimate home – Thy Brindaban!
Whose glory in her bowers will I sing.
And accost Thee daily in Thy golden dawn
In every flower, every purlingst realm
In changing forms deciphering the One.
Here, in Thy happy hunt, where dreamers dream
And Yogis strive through Yoga Thee to meet
And all who visit hail Thy summit gleam,
Thy Meera treads but one way Thee to greet:
She prays: “Besiege my heart at midnight hush
And on banks of Love’s blue rill Thy dance repeat.”
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All of us felt as if we ourselves were ‘dancing on Love’s blue rill’ – that was the effect the performance produced. Profound silence prevailed for a while. Dilip then touched a topic and raised a dialogue.
“I feel, Mahatmaji”, he said, “that our beautiful music has been sadly neglected in our schools and colleges.”
“It has – unfortunately”, Bapu agreed, “I have always said so.”
“I am very glad to hear this, Mahatmaji, because, to be frank, I was under the impression that art has no place in the gospel of your austere life. I had often pictured you as a dread saint who was positively against music.”
“Against music – I”! exclaimed Mahatmaji, as though stung. “Well, I know, I know,” he added resignedly, “there are so many superstitions rife about me that it has now become almost impossible for me to overtake those who have been spreading them. As a result, my friends’ only reaction is almost invariably a smile when I claim I am an artist myself.”
“I feel so relieved, Mahatmaji” I laughed, “but may not your asceticism be somewhat responsible for such popular misconceptions? The people would find it difficult to reconcile asceticism with art”.
“But I do maintain that asceticism is the greatest of all arts. And to think that I should be dubbed an enemy to an art like music because I favour asceticism! I, who cannot even conceive of the evolution of India’s religious life without her music! But, indeed, I fail to see anything in much that passes for art in these days. What is needed for the appreciation of any art is to have the heart for it, not any ntimate knowledge of technique or training. Why must my walls be overlaid with pictures, for instance, when they are meant only for sheltering us? I do not need pictures. Nature suffices for my inspiration. Have I not gazed and gazed at the marvellous mystery of the starry vault, hardly ever tiring of that great panorama? Could one conceive of any painting comparable in inspiration to that of the star-tudded sky, the majestic sea, the noble mountains? Beside God’s handiwork does not man’s fade into insignificance?’
Dilip agreed: “Yes, what man in his senses will claim that the artist’s handiwork is even greater than life’s?”
Bapu then rushed on and changing the Gita’s aphorism, “Yoga is skill in action”, he said in effect that skill in action was itself the highest art. “Life must immensely exceed all the arts put together. To me the greatest artist is surely he who lives the finest life. For what is this hot-house art-plant of yours without the life-soul and background of a steady worthy life? What after all does that art amount to which ll the time stultifies life instead of elevating it? No. Art has a place in life, but art is not life. Life, on the contrary, is Art. Art should be subservient to life. It should act as its handmaid, not master. It should be alive to life and the universe.”
The Gandhi Tour is a global music festival created with the intent to arise social change by uniting people through the Universal language of music. This global music events are creating a platform for cultural dialogue relating to all cultures and religions inspired by the life of Mahatma Gandhi with the support of Dr. Arun Gandhi, Mahatma Gandhi’s grandson.
Tobias Huber, founder of the Gandhi Tour lived in India for more than seven years. Inspired by his vision of a huge music event touring around the globe in cause of peace and non-violence, generating the consciousness to enable us to stop global hunger. Tobias with Dr. Arun Gandhi’s blessing created this dynamic musical event to inspire people on the choice of peace and non-violence in life.
The first of many events the Gandhi Tour celebrated Gandhi’s 100 years of Non-violence with Dr. Arun Gandhi at Earthdance 2006. It is there that the Gandhi Tour began its journey in the cultural peace movement of the 21st century.
SYNOPSIS: BANSURI GURU is a documentary film on flute maestro Pandit Hariprasad Chaurasia
Seven decades in the life of the maestro Pandit Hariprasad Chaurasia, the living legend and exponent of the bansuri, the Indian bamboo flute. The film takes these poignant years of his life and unravels the story of a man who was pre-ordained to be an extraordinary musician, despite every possible rule in the rule book that drove him the other way. A story of a man’s triumph against odds to achieve that one thing closest to him – his passion, his perseverance to excel and his destiny to master his passion.
The film is aptly titled ‘Bansuri Guru’, two words that sum up a life’s journey in quest for excellence, mastering a passion and preparing to leave a legacy for future generations.
The film will cover the following chapters of his life:
His childhood in Allahabad – 1938 to 1948
His teen years in Allahabad as a young apprentice – 1948 to 1958
His 20s in Orissa as an AIR (All India Radio) musician – 1958 to 1961
His 30s in Mumbai as a newcomer to the Hindi film Industry – 1961 to 1968
The turning point in his life – focus on classical music and the search for his Guru – 1968 till now
His initiation to world stage and music, global collaborations – 1970s till now
His contribution to the music world and the establishment of the Vrindaban Gurukuls
Within these chapters you will get the maestro’s views on a range of topics that will inspire his fans and followers and help them understand how geniuses just move on from one milestone to another – never really resting, but merely struggling to move to the next tent-pole.
The film has been shot in the maestro’s environment – his home and school both in Mumbai and Bhubaneswar in India and in Rotterdam, Netherlands - Get the Broschure here.
Some few Screen Stills…
Year of Production 2012; Duration – 60 minutes; Directed by Rajeev Chaurasia; Produced by Films Division of India, Government of India.
