Reverence

EUROPEAN LITERATURE NIGHT

European Literature Night - Bucharest, 2013The Romanian capital Bucharest is, this year, one of the organisers of the project “European Literature Nights 2012 – 2014”, alongside Brno, Dublin, Lisbon, Prague and Wroclaw. You can read more about the location, the authors, the books and the reading events planned for this year’s edition on the  European Literature Nights site. Hurry up and book your seat in any of these great cities you might find yourselves in, or, why not?, take some time and dine out with a good book tonight. I will be back with my own impressions from my very own literature night, so stay tuned! 

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What is the significance and aim of the ENL?

One night – many experiences: public readings of contemporary literature performed by well known personalities at attractive and unusual venues in cities across Europe.

European Literature Night builds on the concept of literature being a unique creative medium which embraces the voices of individuals along with the values of the society they live in. The umbrella project “European Literature Nights 2012 – 2014” aims to bring contemporary European literature to the general public in an innovative way through a series of public readings and accompanying events. Supported by a grant from the Culture Programme of the European Union, the project partners hope to deliver high level of impact to their audiences. Although it is Brno, Bucharest, Dublin, Lisbon, Vilnius, Prague and Wroclaw who are jointly co-organizing the project “ELN 2012 – 2014”, the other partner cities where Literature Night already took root are of no lesser importance for the event’s development.


BORN A FOREIGNER DIARY – Part 1

OR HOW I CAME ACROSS THE MOTTO FOR MY PLAY (one of potential others)

AND WHAT HAPPENS AFTER THE PLAY WAS WRITTEN AND THE  DIE WAS CAST

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In December last year, not so long ago, I finished writing Born a Foreigner, a play currently submitted to the  Talking About Borders international drama competition. The term in the title has an interesting history. The complexity of its meaning goes far beyond the five acts of the play I wrote, which is why I hope to dedicate it a few other posts here at a later time.

Ever since  I finished writing this play – or, rather, ever since I initially thought I had finally wrapped it up – I have been haunted by its immaterial yet-not-so-ghostly corpora and had to revisit it on more than a few occasions.

In the world of metaphors that life often swerves me into I picked up – or thought I did – character lines or responses, and continued to make  associations that led me to the next set of inevitable post scriptum revelations; in short, as the tormented author (and now emerging dramatist) that I prove to be, I continued to keep the flame burning, which continued to sparkle more ideas about the treatment of the subject, brought forth a dedication, plus the thought of extended notations and directions for the opening of the majority of acts. Last night  I found the motto (the first of possibly more) for Born a Foreigner, which I’d like to share with you here. It comes from Constantin Brancusi (1876 – 1957), one of my favourite artists of all time. Here it goes:

There are no foreigners in art.

I may not have come across this quote scribbled down a while ago if I hadn’t written a post on Florentijn Bruning’s Mona Lisas on my poetry blog yesterday, which starts with another quote from Brancusi, his definition of art. Click here to read it.

The acclaimed music producer Ashish Mahchanda, founder of  the Flying Carpet Production company in Mumbai, whom I met in my trip to India in 2010 and with whom I share the day of birth and a timeless sense of friendship, believes that even after a song seems finished, one should always take about two weeks’ time to revisit it for potential changes and overall improvements. In the case of Born A Foreigner, which is entering its first post scriptum month, there are still improvements to be made, from its layout to the note additions before some acts, or to the plethora of questions, and who knows, maybe even more mottoes to be uncovered. 

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As for the parallels, here is a recent one I drew between the scene discussing the dead zone in The Good Wife (created by Michelle King and Robert King, episode 2, series 3, 2012):

The Good Wife: ‘Mr Branch, what is the death zone? ‘
Mr Branch: ‘The death zone? In mountaineering parlance it’s the altitude above 26,000 feet where oxygen is insufficient to sustain life.
The Good Wife: ‘It’s also a place where perceptions were not to be fully trusted?’
Mr Branch: ‘Sometimes.’
The Good Wife: […] And an absence of oxygen would increase the likelihood of untrustworthy perceptions?
Mr Branch: ‘Yes.’
The Good Wife: ‘So, when you say that you … we have to take your word for it, and yet your words could be coloured by your oxygen-deprived perception.’
Mr Branch: ‘I believe… that follows.’
The Good Wife: Your Honour, I would like to make a motion at this time to dismiss this law suit. […] There is too much inherent uncertainty here. This is a case built on perception, and the death zone makes those perceptions essentially suspect.

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and the scene discussing the death zones in Born A Foreigner:

NOMURA: “[…] sometimes the strong cannot withstand the weak. […] Massive fishing, pollution and an increase in water temperature have led to lower oxygen levels, creating what scientists call a dead zone. As you can very well imagine, very few species can survive in these toxic zones where the sewage and run off can only provide nutrients for the zooplankton…
ALTA and WIDO, in unison: “The giant jellyfish!”
NOMURA: “Indeed! The jellyfish can thrive in the dead zones, feeding on zooplankton, which is their favourite food.” She takes a sip from her tea and places the cup on the table.
WIDO: “Are there many such dead zones on Earth?”
ALTA: “My question, precisely.”
NOMURA: “There are currently hundreds of dead zones in the world’s oceans. None of them were spared. My father also tried to find a possible solution. He studied the reproduction process and the various stages in the development of jellyfish. He noticed that any increase in light and temperature increased their breeding rate. Unfortunately, he died before he could complete his research.
She stares out somewhere in the distance for a while and then goes on.
Other scientists have tried to reduce the  number of jellyfish by means of force. They sent out large ships to spot them, equipped with huge nets with metal cables that were meant to shred entire groups of  giant jellyfish.
Alta stifles a sigh.
WIDO: “And, did it work?” […]

*

To be continued


Breakin’ Bread on My Birthday

Happy Birthday!-s feel as joyous everywhere on this planet.

Breaking bread anywhere in the world comes just as easy. 😀

Fred Wesley’s


♥concert at the Jewish Festival on July 2nd inspired me to dedicate his song to all of you who sent me their best wishes on my birthday this Saturday!♥

♥You can watch the entire concert at this link:

21 festiwal zydowskie w krakowie – Szeroka Czesc 5.♥

♥The concert starts at minute 08:00

and the song that I dedicate to you, Breakin’ Bread, starts at 31:33!♥

♥Enjoy & visit my poetry blog for my Birthday Award Ceremony LIVE right now! 

Take a PEEK to see who the awarded books went to! You might follow next & you might like it! :D♥

Abraham Inc. Concert, July 2nd, 2011


Meeting Zadie Smith at the Literature Festival in Krakow

Zadie Smith and Alina Alens (Photo by Tomasz Wiech)

“The language itself can contain your ideas,”

so WRITE;

even if you may “feel like a stranger in the act of writing,”

and you won’t meet your old writing self half-way along the page.

You’ll be amazed at the capacities you will discover in the act of writing.

READ;

you might not know it yet, but an age of “novel nausea” or the years-of-less-and-less-time for reading might catch up with you sooner than you think…

So WRITE

to be read by strangers – they may turn out to be some of your best readers;

BE FREE,

embrace freedom in your way of life and at the same time respect the language you’re writing in – staying true to your language in today’s world is, as you may agree, a “radical act.”

SHARE YOUR IDEAS WITH NO SHAME,

don’t be afraid to be perceived by others as a “friend of failure,”

as long as you are your own true friend… 


Czesław Miłosz and Kraków

Interview with Ewa Zamorska-Przyłuska,

author of the literary guide to Kraków and the Małopolska region,

Przewodnik literacki

po Krakowie i województwie małopolskim (WAM 2010)

I invite you to read below the interview she gave for the Karnet monthly, on Czesław Miłosz’s Kraków:

Barbara Fijał: In your book, you name nearly a thousand men of letters associated with Kraków and Małopolska. A very special place among them is assumed by Czesław Miłosz, whose name – next to that of Stanisław Lem – crops up most often. Was it a conscious decision or is it just that while writing about literary Kraków one simply cannot leave out the person of Miłosz, who lived in Kraków for just 10 years?

Ewa Zamorska-Przyłuska: My decisions about including an author or a place in the guidebook usually had their own “solid” reasons, the ranking of the person or a venue on the map being among the most important ones. Yet those decisions also had certain undertones based on nuances and personal preferences. Czesław Miłosz owes his multifaceted presence in the book not only to his unquestioned position in the world of literature, but – possibly even to a greater degree – to the fact that I still find him intriguing, somebody who does not leave me in peace, and who in different periods of my life I must rediscover anew, even if only in small snippets. The measure of time, whether only a decade or an entire lifetime, is of no consequence here. The game is played at another scale whose name is intensity.

B F: Miłosz was already living in Kraków in 1945.

E Z-P: He was, but it may be worthwhile mentioning his earlier encounters with Kraków first. When he saw our city before the second world war, he found it charming. In 1941, when he arrived here with Jerzy Andrzejewski from the ruins of Warsaw and visited the café in the architecturally perfect and modern Dom Plastyków – the “House of Artists” designed by Adolf Szyszko-Bohusz, at ul. Łobzowska 3, the city brought Paris to his mind…

Early in 1945, the poet reached Kraków, freshly liberated by the Red Army, and moved with his wife Janina to the Dom Literatów providing accommodation to assorted men of letters at ul. Krupnicza 22, from where he soon moved to ul. św. Tomasza 26, to a large louse-ridden flat which he occupied together with Tadeusz and Zofia Breza. He had the quarters assigned to him by a political officer of the Polish Army, a true éminence grise and writer, Adam Ważyk, who – as a “Lublin man”, closely associated with the new powers that be – had opportunities in this city that were next to infinite. Miłosz resided in Kraków for less than a year, witnessing not only the new order, but also the poverty and suffering of the people who he met e.g. around the railway station.

To get to know the places associated with the poet at this time, you need to visit the headquarters of Film Polski at ul. Lea 5 (today’s Mikro cinema), where he wrote the script for Unvanquished City (Robinson Warszawski) together with Jerzy Andrzejewski. In The Captive Mind (Zniewolony umysł, 1953) you can find a staggering description of the view from its window onto the courtyard of the Regional Security Office (UB) where the soldiers of the clandestine army were held captive.

Ul. Wielopole 1 is the address of Dziennik Polski, where Miłosz published his regular column under the nom de plume czmił. He knew Jerzy Putrament, the editor-in-chief of the daily, very well from his Vilnius days. Miłosz also published in Twórczość and Odrodzenie, which were housed in the Feniks building at ul. Basztowa 15, and in Przekrój weekly which at that time was based both at ul. Wielopole 1 and at ul. Starowiślna 4. As he wrote in a tribute to Kazimierz Wyka, Professor at the Jagiellonian University, editor-in-chief of Twórczość, and activist of the Polish Writers’ Union (ZLP), “friendship with him sweetened my time in Kraków, where I found myself much like many others (…). If not for the delegation to a foreign post, I would probably have stayed at ul. św. Tomasza in between Wyka and Jerzy Turowicz, with whom I left the galley proofs of my volume entitled Ocalenie (Rescue) in 1945. When I come to think about it today, I believe that having such friends is a sufficient reason to take root in Kraków, even though how I would have behaved in the Stalinist period, I dare not pronounce.” (2000).

In December, Miłosz left for New York as a diplomat, saying his farewells to Poland in 1951 to become an émigré for a long period of time. In 1959, Czesław’s father, Aleksander, died and was buried in the Rakowice Cemetery (quarter LXIII, row 11, grave 18). It was not until June 1981 that the poet was welcomed back to Kraków as winner of the Nobel Prize.

Return visits to Kraków since the late 1980s are separate subject…

B F: Was our city frequently present in the writing of the Nobel Prize Winner? What is the Kraków that emerges from his works?

E Z-P: Kraków was certainly not one of the foremost themes of Miłosz, even though it plays an important role e.g. in A Poetical Treatise (Traktat poetycki, 1957), where it is identified with the culture of the Młoda Polska – Young Poland movement. One may not gloss over the image in Powrót do Krakowa w roku 1880 (1984) either, devoted to someone hardly known today, Julian Klaczko, a man from Vilnius who settled in Kraków. Miłosz mentions “the little town in a hollow by Cathedral Hill / with the graves of the kings”. Another work (W Krakowie, 2001) reads: “on the border of this world and the other, in Kraków. / Pitter-patter on the worn out marbles of the churches, / Generation after generation. It is here that I’ve understood / Something of the customs of my sisters and brothers”. Kraków does not fascinate Miłosz as an urban organism or structure. Perhaps it used to be more of a pretext than the goal of poetic expeditions that went far beyond the borders of the city… Yet, as Ewa Bieńkowska wrote after his death, “it happened thus that Kraków proved the place of Miłosz’s last reconciliations and his last thanksgivings”. Which is the very measure of the intensity I mentioned earlier in this interview.

B F: What, then, could incline the poet to choosing this very city when he decided to return to Poland in 1993?

E Z-P: In the interview he gave to Bronisław Maj in the same year 1993, when he was still living at Berkeley, Miłosz very clearly put a finger on it thus: “I like Kraków very much. I enjoy Kraków, as it is truly a university city, yet in a size that is still human. Moreover I finished growing up in Vilnius, and in many respects Kraków reminds me of my university in Vilnius. The walking of the same few streets every day has its charm. It has, and there are plenty of things going on within these few streets. It is very important, and it is plainly seen, especially in contrast with those cities where nothing happens for tens of miles – in music, poetry, literature, science: no cultural events… (…). Moreover: the beauty of your city also means a lot. Old stones, architecture…”. Miłosz emphasised that his relations with Kraków are of precisely a spiritual character – still in this fragment, we see that the physical “substance” of the city is what crops up second in Miłosz, after the description of its “function”. Already when he arrived to be granted the honorary doctorate of the Jagiellonian University in 1989, Miłosz was believed to have asked that they should find him a home (obligatorily within the garden ring of Planty), since he might soon settle down in Kraków – the city he considered the most attractive. And indeed, together with his wife, Carol, they ended up living close to Planty, yet on the outside of its ring. It was his favourite place for walks.

B F: You have mentioned a few places that Miłosz was connected to – the house at ul. św. Tomasza, the flat in Krupnicza, and another one at Bogusławskiego… Did he take any special liking to any spot in Kraków, did he make his mark on one particular place?

E Z-P: I believe this would be the apartment at ul. Bogusławskiego 6, on the first floor. Even as late as the 1990s, he would come here in the spring to return to California in autumn, yet at 90, he remained here for good. And in that apartment he died on 14th August 2004. I recently read the talks between him and Agnieszka Kosińska, the poet’s secretary from 1996 until his death. In her memoirs, she fills up the space of the city with an exceptionally subtle, modest, and at the same time highly realistic tale full of expression and temper about Miłosz. Moreover, the readers are also familiar with a colourful account by Jerzy Illg, who got the apartment ready for the arrival of the Miłosz couple… Yet the testimony of Kosińska about how Miłosz filled this space with his presence seems to me, particularly acute.

B F: Miłosz’s Kraków is more than just places, it is primarily people – the writers he was associated with, and the magazines and newspapers where he published his poems. Could you talk about this side of Miłosz’s life in Kraków?

E Z-P: It is generally known that the poet remained on friendly terms with the milieu of Znak, the Catholic monthly and Tygodnik Powszechny the Catholic weekly – Jerzy Turowicz was among his chief friends. The realm of closest friends included Wisława Szymborska, Professor Teresa Walas and Professor Aleksander Fiut, Marek Skwarnicki, and the late Professor Jan Błoński, whom he visited in the district of Kliny. The publisher of the vast majority of the Nobel Prize Winner’s writings is the Znak Publishing House, which – together with Wydawnictwo Literackie – coedits his “collected works”. In 1992, the Biblioteka “NaGłosu” series (documenting the legendary NaGłos “spoken magazine” of the 1980s – editor’s note) published a small volume of his Haiku translations. In addition Miłosz was also published in Kraków by Dekada Literacka.

In the last period of the poet’s life, his health was in the care of Professor Andrzej Szczeklik. And let me stop at this, as I want to keep a distance from matters of “living people” remaining closer to “stones” – as I perceive myself as primarily writing a literary guide to the city…

Cz. Miłosz and J. Błoński, photo Błońscy Family

B F: And a very special location for the end – Skałka – the Church “on the Rock”. It is here that Czesław Miłosz was buried on 27th August 2004. Did he visit this place, while still alive?

E Z-P: Yes, he did, Miłosz visited Skałka in the summer of 1941, having visited Kazimierz Wyka in Krzeszowice. An exceptional story, highly significant and complex. Andrzejewski mentions it – though without revealing the name of his friend anathematised by Communist Poland – in his foreword to Joseph Conrad’s Lord Jim, as the decision to emigrate undertaken by the great 19th-century prose writer and, by the way, one of the Kraków protagonists of A Poetical Treatise(Traktat poetycki), he associated with the impulse to which he and Miłosz yielded when they “began to withdraw from Skałka in silence, first slowly, nearly on tiptoes, and then speeding up their pace the further away they went…”. Andrzejewski’s text is so interesting and important that I would not like to make a summary of it here, as it would certainly lead to trivialising of its senses. Although I quote fragments of it in the guidebook, I do encourage you to reach for the 1956 edition of Lord Jim so that you can read this episode in its natural context.


Celebrating the 4th American Day in Krakow – A Visual Diary

Vintage bus inspired by the 1950s transportation in San Francisco

May 6, 2011 _ Departure: 12 am, from the Engineering Museum, Krakow

Cello player performing on the bus. She did well on balance.

First stop at the foot of the Wawel Castle

Changing buses at the second stop on the route, the Wisla stadium parking

Alina Alens with Mr Allen Greenberg

The third stop at the J. Slowacki Teatre

A very competent guide welcomes the visitors to the theatre

Stories and ambience keep the audience mesmerised

Slowacki Theatre staircase view

Glimpse of the main theatre hall

Backstage, a rare priviledge, with special visitors

The emblem of the city of Krakow


Cultural me, cultural you//Tenth Edition//21.11.2010

EAST Meets WEST

at

The “Drum Essentials” Masterclass

straight from India

with Dr. S. Karthick and Atma Anur

When: Sunday, November 21st, 9pm (+1 GMT)

Where: on line, on RadioWid

(click on “Sluchaj teraz” to listen)

Podcast available on request, at the contact address down this page.

Limited Offer!

On the MENU:

extracts from masterclasses at the Swarnabhoomi Academy of Music,

introducing you to both Carnatic rhythm and modern Western rhythmic understanding for drummers and well-rounded, knowledgeable musicians.

PLAYLIST

1. Raga Bop Trio: Garuda

2. Shakti with John McLaughlin

3. Raga Bop Trio: The Geometry Of Rap

4. Prakesh Bangalore:  A Talk (DVD extract)

5. The Atma Anur Group: Atma’s Fura

6. ALENS: You Are Not Alone (produced by Atma Anur)

7. Vanessa Van Spall: Not Sorry (produced by Atma Anur)

8. Ed DeGenaro: Prayer

9. Raga Bop Trio: Ironically

10. Natalie John: Nothing Else

11. Ed DeGenaro: Outro



Rock ‘N’ Funk ‘N’ Roll Workshop at the Swarnabhoomi Academy of Music (India)

SAM

Rock 'N' Funk 'N' Roll Workshop

Atma Anur, Ed Degenaro and Steve Zerlin at the Rock 'N' Funk 'N' Roll Workshop

with internationally renowned guitarist and composer Prasanna as its president is India’s first music college to offer a range of programs in contemporary jazz, rock and world music. SAM is now offering a 2 day ROCK workshop: November 13-14, 2010.

With World class faculty, the SAM facility is complete with the latest gear, lecture halls, ensemble rooms, labs, practice rooms, recital halls, library, media center, recreation facilities, ultramodern residential facilities among others. With an excellent faculty to student ratio , SAM is spread over a vast 4 acre campus which makes learning a truly unforgettable experience.

The faculty for the workshop is:

ED DEGENARO (GUITAR)

BURN UNIT WITH ED

One of today’s most versatile guitar shredders and SAM faculty Ed Degenaro will offer a two-day workshop on Nov 13 and 14 at SAM.

What will Ed’s workshop cover?

* General musicianship and Modern guitar techniques – Getting the right sound, Non- diatonic ideas in shredding, creative improvisation, harmonics, two handed fret tapping, sweep picking, alternate picking, economy picking, legato picking, slapping, effects, Arpeggios, chords and scales and their super imposition in modern rock guitar styles.

* Stylistic Approaches of Shred Masters – Pentatonics of Eric Johnson, Wide interval legato and one note per string ideas of Shawn lane, Harmonic minor scale as used by Yngwie Malmsteen, Tapping and other approaches of Steve Vai and Joe Satriani.

BASS BALL with STEVE ZERLIN

STEVE ZERLIN – (BASS)

What will Steve’s workshop cover?

* Deepen your pocket, while fattening your groove. Time is of the essence.

* How to use syncopated dead notes amidst the bass line to create rhythmic motion.

* Finger style and slapping techniques.

* Great bass lines created by great artists such as Jaco Pastorius, Marcus Miller, Victor Wooten, James Jamerson, Bootsy Collins, Larry Graham, Paul McCartney, need i go on…..

* All workshop participants will play in a group setting applying these skills.

DEEP GROOVES WITH ATMA ANUR

ATMA ANUR – (DRUMS)

Some of what will Atma’s workshop cover?

* ATMA ( Having being part of Cacophony, Journey, Richie Kotzen, David Bowie, and many more!)

* He joins this hard hitting trio to shed some light on various topics, including: the history of rock grooves, chop building, double bass drum playing.

* How to orchestrate drum parts for hard and melodic rock.

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Who is this workshop for?


This workshop is for all musicians who are interested in taking their Rock, Metal or Fusion playing to the next level by woodshedding for a weekend with the masters. Applicants must have strong playing skills in Rock, Metal or Fusion genres. Applicants will be judged on the basis of the application form and a demo that reflects their guitar playing. It could be a CD mailed to us or online links such as You tube, My space etc.

How much does the workshop cost?


The fee for the workshop is Rs. 6,000 which includes shared accommodations in our brand new apartments and 3 buffet style meals a day. Students will have wi-fi in the apartment rooms and the entire SAM facility. Students will also have access to our practice rooms, ensemble rooms, library, media center etc.

What facilities will be provided?


Students will have access to high quality hand made Mesa Boogie Express, Lone Star, Transatlantic and Mark V guitar amps,Orange Bass Amps, PDP, Dixon Drum sets, 10 ensemble rooms equipped with guitar amps, bass amps, drum kits, upright/.digital pianos and PA system, a large recital hall with a Kawai Grand Piano for performances, numerous practice rooms and practice huts, a library equipped with hundreds of books and instructional DVDs, a media center and best of all a quiet place tucked far away from civilization to shred as loud as you want day or night!

FAQ


1) Where is the workshop held?
This fully residential workshop will be held in MARG Swarnabhoomi, about 80 kms from Chennai, and 38 kms from Mahabalipuram and 60 kms from Pondicherry.

2) Who is the workshop for?
The workshop is for intermediate to advanced musicians.

3) I am not a professional musician. Can I attend the workshop?
Yes. The workshop is for any musician – professional, semi-professional or amateur who wishes to improve his or her performing skills.

4) Do you have any minimum qualifications for selection?
Yes. We expect applicants to have at least reasonable performance skills to make it worthwhile and fun for everyone.

5) Is there a selection process?
Yes. We will screen the applicants on the basis of the application form and online links/MP3s.

6) Do I need to be able to read/write music to attend?
No. We understand that a large percentage of guitar players, bass players and drummers don’t necessarily read or write music. Each of the faculty members is adept at reading and writing music, so if you have those skills and would like to improve them, this is a good opportunity.

7) How do I pay the fees?
As a special Diwali gesture, SAM is offering the workshop to all musicians at an incredible Rs 6000/- including food and accommodation.

To Register log on to http://www.sam.org.in/short-workshop.php or contact Shyam Rao on +919884375572 / Wayne Fernandez on +919884145130.

Wolf’s Lair the winners of Chennai Live 104.8FM BAND HUNT have been granted a free workshop. There’s a special price for all Chennai Live 104.8FM BAND HUNT participants.

*    *    *

End Note:

The 10th and the 11th editions of “The Cultural me, Cultural You” show will be dedicated to the SAM faculty, music and activities.

In view of this fact, they will be delayed by a week unless otherwise announced.


NAMASTE

Ghatam KarthickGhatam Karthick’s message for Diwali

HAPPY DEEPAVALI WISHES TO EVERYONE HERE.

MAY THE ETERNAL LIGHT GUIDE US IN ALL OUR PATHS.

MAY WE ALL BE GUIDED FROM Darkness TO BRIGHTNESS.

“Tamaso Maa Jyothir Gamaya.” May God bless us all with all that is Good in Life.

KEEP SMILING

KARTHICK

Carnatic music concepts

Carnatic music concepts written down by Karthick himself in a student's copybook

At SAM, the Swarnabhoomi Academy of Music, India’s first professional college of contemporary music, it’s no wonder that Dr. S. Karthick, leader of the heArtbeat Ensemble,  extraordinary Indian percussion teacher and performer, holds a special place in everybody’s hearts and in everybody’s finger-tip rhythm.

More insights into Karthick’s thinking and teaching of the mathematics of rhythmical patterns at this coming Sunday’s edition of “Cultural you, Cultural me.”

Dr. S. Karthick and Alina Alens

Dr. S. Karthick and Alina Alens