On Saturday, March 17, 2018, more than 320 philanthropists, physicians, and community leaders came together for the Scarlet Ball, an annual gala to benefit the South Asian Heart Center at El Camino Hospital. The fundraising event, which was held at the Dolce Hayes Mansion in San Jose, raised more than $348,000 to support the Center’s work.
A commendation letter from the 19th Surgeon General of the United States Vivek H. Murthy, MD, MBA, was shared at the event recognizing the South Asian Heart Center staff, volunteers, and supporters for their lofty vision of working to improve the health of the South Asian community. Dr. Murthy stated, “You saw that heart disease was disproportionately affecting South Asians, leading to heart attacks, disability, and lives lost. You also recognized that many of these tragic events could have been prevented if only evidence-based prevention measures had been brought to the community in a culturally appropriate manner. Admirably, you took it upon yourself to build an institution that would close the gap between what our community had and what it needed to prevent disease and save lives.”
Congressmember Ro Khanna and Assemblymember Ash Kalra attended the event, and presented the South Asian Heart Center with certificates of recognition for outstanding work in reducing heart disease and diabetes among South Asians.
Since opening its doors in 2006, the South Asian Heart Center has dedicated its resources to increasing awareness and prevention of diabetes and heart attacks in South Asians, and research to improve risk prediction and reduction in this vulnerable population. To date, the Center has enrolled more than 7,800 participants in its culturally appropriate AIM to PreventTM and STOP-DTM programs, educated more than 3,000 physicians, reached out to more than 80,000 community members, published its findings in peer-reviewed journals, and opened satellite offices in Fremont and Los Gatos.
“The four little secrets that have helped us improve health outcomes for our participants are Meditation, Exercise, Diet, and Sleep – what we call our MEDSTM lifestyle platform. This enabling platform forms the basis of the Center’s education curriculum, expert lifestyle counseling, and personalized health coaching to help stop diabetes and halt heart attacks,” says Ashish Mathur, executive director of the South Asian Heart Center at El Camino Hospital. “Through the ideal daily practice of MEDS, we’ve seen 68% of our participants lose weight, 62% improve their cholesterol ratio, and 71% improve their HbA1c.”
Building off the importance of developing a healthy lifestyle, keynote speaker Munjal Shah, a successful entrepreneur and South Asian Heart Center participant, shared his story of determination to get healthy. After Shah sold his company Like.com to Google in 2010, he had a heart attack scare. He modified his diet and lost 40 pounds and through the process, realized he had a passion for digital health and healthy living. Shah now focuses his entrepreneurial energies in this direction and co-founded Health IQ in 2013. As part of his keynote, Shah quizzed the Scarlet Ball attendees on how much they knew about aspects of a healthy lifestyle and challenged them to evaluate their health literacy.
The gala also featured a live auction, heart-healthy cuisine by Chef Vittal Shetty of Jalsa Catering, entertainment, and dancing.
About El Camino Hospital
El Camino Hospital is an acute-care, 443-bed, nonprofit and locally governed organization with campuses in Mountain View and Los Gatos, California. Key medical specialties include cancer, heart and vascular, men’s health, mental health and addictions, neuroscience, orthopedic and spine, senior health, urology, and women’s health. Additional community-based services include the South Asian Heart Center and Chinese Health Initiative. The South Asian Heart Center’s mission is to reduce the high incidence of diabetes and heart attacks in Indians and South Asians through culturally tailored, science-based, and lifestyle-focused services. To learn more visit www.elcaminohospital.org.
Finding you Fearless… I taught you to Fear.
Eternally Curious… I taught you Indifference.
Charmingly Honest… I taught you Pretence.
Openly Friendly… I taught you Caution.
Implicitly Trusting… I taught you to Doubt.
Clingingly Needy… I taught you Independence…
…and considered it a ‘Job’ well done!
Now My Child, it’s your turn.
Hold my hand and teach me to be…
Do your “Job.”
Teach me to Love!
Mar 13, 2018 - Jun 24, 2018
Rembrandt & The Inspiration of India
J. Paul Getty Museum, LA CA
Mar 15, 2018 - Apr 30, 2018
|International Indian Icon - A Platform for Indian Talent Across the Globe!|
Apr 7, 2018 - Apr 28, 2018
11:00 am - 7:00 pm
Sale and Exhibition: Indian Party Wear
Shieno Sarees, Pleasanton Ca
Apr 7, 2018 - May 4, 2018
12:00 pm - 9:00 am
200 Hour Yoga Teacher Training in Nepal
Nepal, pokhara nepal
Apr 20, 2018 - Aug 19, 2018
11:00 am - 5:00 pm
The House Imaginary
San Jose Museum of Art, San Jose CA
Community colleges are the often-overlooked institutions of learning, that are hidden gems in one’s backyard.
In India, the system of community colleges is seen as an alternative system of education that can be used to acquire trade skills, but not as a conduit to institutions of higher learning. In the United States, on the other hand, community colleges are seen as junior colleges giving a leg up to those that need one, in climbing into the four-year college system. If the student so desires, he or she could earn college credits at the local community college and then transfer to a four-year educational institution in the United States.
The aim of both the Indian and American systems, however, is to empower the disadvantaged and the underprivileged through appropriate skills-development, leading to gainful employment.
The booming popularity of community colleges could also be attributed to President Obama, who was hailed as the “Community College President”, for funding and supporting these educational institutions. During his campaign, Obama spoke regularly of the importance of community colleges in keeping America economically and educationally competitive in the 21st century.
The Evergreen Valley College (E.V.C.), located on a sprawling 175 acres in the eastern foothills of San Jose, California, is just such an institution that prepares students to transfer to four-year college systems, such as those of the Universities of California and California State Universities. It has transfer agreements with all 23 California State Universities, 6 of the Universities of California, and some private universities. Accredited by the Western Association of Schools and Colleges – a national accrediting body – the E.V.C. is the largest feeder community college to the San Jose State University.
Community colleges are especially attractive as stepping-stones to international students who need to improve key academic skills, including language skills, before obtaining admission to a Bachelor’s level program. The credits earned at the community college help complete university education in a time- and cost-effective manner.
The Evergreen Valley College has a large number of international students from India. Elizabeth Tyrrell, Director of the International Student Program, travels to India and meets high school students in order to explain the American community college system:
“We have the 2 + 2 system. At the end, students receive their Bachelor’s Degree from the 4-year institution (from which they graduate). Almost all of E.V.C.’s international students transfer to accredited 4-year institutions. 94% of E.V.C.’s transfer-ready students do, in fact, transfer. Students can apply and transfer beyond California and go to any university or college in the U.S.”
Evergreen Valley College is S.E.V.I.S. certified and approved by the U.S. Department of Homeland Security to issue the I-20 Form, which is required to apply for a visa to study in the U.S.
Students from India do not need to take the S.A.T. or the T.O.E.F.L. exam, as long as their high school transcript is in English, and they come from an English medium high school.
The application process is more relaxed as well. Students may apply for admission till as late as June 30, 2018 for the Fall semester that begins on 4 September, 2018, or apply between October 15 2018 and December 1, 2018, for the Winter session that starts on 28 January, 2019.
There is no question that the savings are significant when it comes to tuition. While the annual tuition at a Universityof California would cost approximately $41,000, a student would only pay $6748 at the Evergreen Valley College – a savings of nearly $35,000. However, taking into account the cost of living – housing, transport, fun-money, books and supplies – students would be well-advised to budget for $21,500 for the year, per E.V.C.
In addition to the compelling financial savings, students also step into a learning environment akin to that of a University. While at the beginning of each semester, students are responsible for signing up for classes, maintaining attendance, completing course work and submitting assignments, they have the added advantage of having Counselors on hand, to guide them in the choice of courses and help them meet the necessary pre-requisites for their Major.
The average class size in community colleges is typically smaller. While the student-teacher ratio at E.V.C. is only 28 – 45 students to 1 teacher, the class size at a U.C. can sometimes run to over 300 students. Additionally, students in community colleges have Professors teaching the course themselves, while in large universities, the course may be taught by a Teaching Assistant.
The 2015 enrollment statistics published by the American Association of Community Colleges, reveal that 46%, of all the U.S. undergraduates, are community college students. Of the 12 million students who go to community college in the U.S. every year, 2.1 million choose California community colleges.
Community colleges cater to the needs of the local job market and have professors who work closely with the students to groom them not only for the needs of the local area, but also equip them with skills that are transferrable beyond. With the voracious appetite for new talent and the ever-changing skills needed in the Silicon Valley, community colleges provide an alluring and viable solution.
Says Michael Riordan, a tax accountant and teacher at local Bay Area community college, of the merits of community colleges “This is a win-win situation. Save your money for (the students’) Masters.”
For queries please contact: Elizabeth Tyrrell, Evergreen Valley College, 3095 Yerba Buena Road, San Jose, CA 95135 E-mail: International@evc.edu Phone: +1 (408) 270-6453
Ritu Marwah is the Features Editor at India Currents and is an avid student of educational systems.
I watched Lovesick at the Indian Film Festival of Los Angeles, which comes with the usual homey discord of diasporic film festivals. The people behind me were passing tupperware filled with aloo gobhi. The harangued IFFLA staff member was pleading people to lower their voices as he introduced the filmmakers. I was at once amused — as a film student, I’m usually surrounded by a much more reverential crowd– and admittedly irked — I would like to hear the filmmakers’ introductions and nobody passed me any aloo gobi. Under the wafting smell of aloo gobhi I feel at home and alien. It was under these classically clashing circumstances that I watched Lovesick, which also seemed to be trying to navigate pleasing two worlds and settling neither here nor there.
The directors of Lovesick, Ann S. Kim and Priya Giri Desai, were both working at PBS when they came across an article about Dr. Suniti Solomon, the first person to find HIV in India. In the film we learn that Dr. Solomon is more aptly described as the first person to even look for HIV in India, which she found widespread in sex workers. She then left what she described as “her prestigious academic job” to found a clinic for people with HIV.
Here’s where it begins to get wacky; Through founding the clinic, Dr. Solomon somewhat organically created a matchmaking service to help HIV positive people find partners, a practice which the directors claim is now common in Indian HIV clinic. Ann and Priya decided Dr. Solomon’s story was too big for a throwaway article and through a mutual connection decided to meet her in person. Eight years later, they birthed Lovesick, a longitudinal documentary on Dr. Solomon’s life and the story of a successful couple she matched.
The film is humorous, poignant and tender. Dr. Solomon matches couples because she too was madly in love for many decades. Her late husband was Christian and she is Hindu, yet, in a tale as old as time, love conquered all. I’m a sucker for a sappy love story, so I was moved when I saw Dr. Solomon read out passionate letters her husband wrote to her, which she now keeps sealed in a ziplock bag. Later, she waters the purple orchids surrounding her husband’s picture. “His favorite flower,” she remarks, standing next to a shelf of Christian and Hindu paraphernalia. We begin to understand why Dr. Solomon is such an advocate for finding love.
Through her matchmaking service, we meet Manu and Karthik, two of her “lovesick” patients. Their faces are not shown for most of the film because HIV is still so taboo in India — best evidenced by a sequence in the film where Manu’s Mother asks if she can say the word “HIV.” Both Manu and Karthik are sweet and lovable, but there is a certain emphasis placed on the fact that neither was “to blame” for contracted HIV. Karthik was given tainted blood and Manu was married to a man who never revealed himself her was HIV positive.
In fact, the communities Indian society would like to blame for HIV, are curiously absent from the film. For example, Dr. Solomon first found HIV in sex workers, yet not a single sex worker is interviewed in the film. We know HIV to predominantly exist in the gay community, but Dr. Solomon’s matchmaking service seems to only match heterosexual, or seemingly heterosexual, couples.
As sweet and deserving of love as Manu and Karthik are, the fact that they are able to find it is predicated on his Brahmin caste and her educated background, as Dr. Solomon’s staff giddily relay in the matchmaking process.
By the end of the film, Manu and Karthik decide to allow their faces to be shown. The couple even spoke at the screening in New York and have committed to be the public faces for HIV clinics in India.
The film is an homage to the remarkable Dr. Solomon, who passed away before the film was released., At times she even even goaded men into coming in to receive treatment by telling them they would only find love if they took care of themselves. She understood the interconnectivity between human wellbeing and love — and all of its accoutrements, like desire and compassion — and her own love for others will always be remembered.
Urvashi Pathania is a film-maker who writes from Los Angeles, where she attends the University of Southern California. You can learn more about her at urvashipathania.com.
Priya Giri Desai was presented the Audience Choice Award for documentary.
India Currents is a media partner of the Indian Film Festival of Los Angeles. More about Lovesick at https://indiacurrents.com/lovesick-a-west-coast-premiere/
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A distinguished disciple of the late legendary maestro Ustad Ali Akbar Khan, he also received guidance from the great sitarists Ravi Shankar and Shrimati Annapurna Devi . Rajeev Taranath is the recipient of many honors including India’s highest government award in the arts, the esteemed Sangeet Natak Akademi Award in 2000. He has received critical acclaim for his deep introspective style that melds imagination and emotional range combined with technical skill, and a highly disciplined approach to the development of a raga. “Rajeev Taranath’s sarod improvisations mixed the spiritual and the spirited…the raga began with introspective meditation and proceeded into an exuberant rhythmic celebration.” said critic Edward Rothstein of The New York Times A noted linguist, he speaks eight languages fluently. From 1995 to 2005, Taranath served on the music faculty of the California Institute of the Arts in Los Angeles. Currently living in Mysore, India, Rajeev Taranath travels worldwide teaching and performing. Given below is an interview with this esteemed musician.
Did you grow up in a musical family?
My father was deeply interested in music. He used to sing and play the tabla. Although he was not a professional musician, I grew up with a lot of music around me. He started teaching me very easy songs. When I was around 3 years old, he made me listen to a lot of classical and vocal records and performances. I soon started singing and gave my first public performance at 10.
So, how did you leave singing for the sarod?
The most vivid moment in music I remember is the first experience of hearing Ustad Ali Akbar Khan, it was electrifying. I was and am a great admirer of Ravi Shankar’s music, so I used to attend every performance of his when he came to Bangalore, the city in which I lived. That particular time, he came with Ali Akbar Khan, who said that he would play the sarod along with him. Before that, I had heard very little of the sarod being played and definitely I had not heard Ali Akbar Khan play. It was a life-changing experience when he played his first movement on the sarod. That was my moment of epiphany, a moment of total grace. As I was listening, my life changed. Music moved to the centre of the universe. I was hooked and never looked back.
Can you explain why it spoke to you so much?
Well, you know, it’s like falling in love. How can you explain it?
So, one performance changed your life?
My life changed direction after that point. After I heard Ustad Ali Akbar Khan for the first time, it was a year and a half or more before I got introduced to him. I was just past 20 when I went to him and he soon accepted me as a disciple.
Please describe the training.
It was daily, sometimes twice a day, but then there would be periods with no lessons for a month or more, because he would be away, performing. By the time I went to him, the demand for his public performances was very high. I started practicing one hour, two hours. Then, for some time, it went on for up to 12 hours a day.
How do you work when you’re practicing music for 12 hours a day?
At that point, I was a beggar. I couldn’t find a job, but there was a benefactor Mr. P.K. Das of Kolkata. This man had nothing to do with music, but he gave me a room, and not very much later, he and his wife insisted I should have my meals with them. I had some sort of job afterward to keep me going, but they took care of me for six more years. That gave me an opportunity for which I am profoundly grateful, to practice many, many hours a day.
You had a very successful career as a vocalist when you were young. You were even described as a child prodigy. I have heard that you were and are profoundly moved when listening to the great vocalist Abdul Karim Khan. Why did you decide to switch to sarod? Many people say that the voice is the ultimate instrument for Indian music.
There is no doubt that vocals are at the center of our music. But Ali Akbar Khan is for me the paradigmatic example of excellence. I would say that in his sarod playing there is a kind of vocalism. He has a flexibility and versatility to his imagination, all of which have vocal sources. It’s not that he actually plays vocal bandishes. There are sarod players that do that, but he is not one of them. Vocalism is for him an abstract, silent, but immediate storehouse for the movements of the raga. It’s the thing that makes a raga more than a scale. I can almost say that given two very good instrumentalists, the person who is the better vocalist—in this special metaphorical sense—is the one whose music will have more “juice.” He might not be the fastest, but that’s because he would have no need to be the fastest.
Has Hindustani music changed over the years?
To answer that question, I think it’s helpful to compare music to both language and physics. If you compare the English of Shakespeare’s time to modern English, you can see that it’s essentially the same. There are noticeable differences, but we can still understand Shakespeare. The physics of Shakespeare’s time, however, has been completely replaced by modern science. Throughout the history of Hindustani music, there’s been the same kind of growth and change that you can see in a language. But you don’t have the new completely replacing the old, as is the norm with scientific progress. For example, Ali Akbar Khan made profound changes in the sarod. Before him, the instrument sounded quick and staccato, with lots of trills. Khansahib still uses those trills, but his innovative playing gives the instrument a new profundity and depth.
What do you think is the biggest challenge in playing Hindustani music?
First, of course, you must practice and study diligently. If you do that, you will become either a competent or an incompetent player, and you will get to know which very soon. But once you have crossed the bar of competence, in about three or four years, what do you do then? You know how to play the raga correctly, but then what? At that point, playing the raga is rather like spreading butter on bread. You’ve got to see how well you can spread it, and how widely you can spread it. You must push at the frontiers of the raga, and yet see that it doesn’t break. If the raga breaks, you are in a kind of melodic anonymity, which ultimately breaks you as a musician.
Have you managed to stretch the borders of any of the ragas you play?
I try. When I play Patdeep, it’s difficult to make it long. You can feel very comfortable playing Yaman long, because
it’s quite spacious and flexible. So is Bhairavi. But Patdeep is very brittle, and can’t be stretched easily. The rules for Patdeep are very strict, which is why it makes such an immediate effect. Once you’ve heard the identifying phrases, you know exactly what it is. But that’s a double-edged sword, because the audience is immediately “Patdeeped,” and it seems to be near closing time right away. Then you’re left with the challenge of where to go from there. For Patdeep, I try to unfold the scale of the raga a little bit at a time, so you can hear every nuance. You have to hold the raga back, stop it from exploding through you. That enables me to stay inside the raga, and not let the raga go, even when I’m playing for a long period of time.
Last month I did a concert in which I played Patdeep for the alap-jor-jhala, and then switched to Madhuvanti for the gat. Madhuvanti has almost the same notes as Patdeep, and many of the same note arrangements. But Madhuvanti has tivra ma (raised fourth) and Patdeep doesn’t. Even though the notes are similar, the mood is very different, and these differences have to be kept. I wanted to create a natural change in mood, while still maintaining a sense of unity in the performance.
When you play two ragas together, how do you decide which ragas to combine?
There’s a kind of dialectic involved between a technical closeness, and yet the need and challenge to keep the moods different while playing in very similar scales. There are also other factors not as capable of tidy articulation. You might combine a raga that has a certain kind of gravitas with something that is not quite so serious—moods that are contrasting, yet still very close.
Can you speak about your approach to developing a raga throughout the many years of riyaz?
There’s a kind of patience that you learn to take with you to the raga. If you’re patient, the raga will speak to you eventually.
Can you discuss the ideas you have regarding teaching Indian classical music?
When it comes to teaching of music, there is a trio – a teacher, a learner and an instrument. The teacher demonstrates how he has put the instrument to use and what he has been able to achieve. The attempt here is a give and take of such experience. This exploration of possibilities, initially in the form of bits and pieces, as alankaras or tabla bols or whatever, later on turns into an exercise in bringing together these little experiences to construct a creative whole. Further on, it is a kind of invitation to the learner to live with the teacher in the common world of music and in this journey together, the learner may even reach beyond. Each one’s style of playing is guided by one’s own possibilities, difficulties and impossibilities.
What is special about your gharana?
Unlike other gharanas which for many years remained closed-door, teaching freely with openness is a major preoccupation with the Maihar. Allauddin Khan, the Paramahamsa-like saint-musician took to vigorous teaching. This can perhaps be traced to the difficulty he encountered in learning and the fact that Allauddin was compelled to choose the sarod in a veena-dominated tradition which confined its veena–teaching to its kin alone. But his ingenuity incorporated the possibilities of veena into the sarod, remodelling it for the purpose. Several nuances of the veena came into sarod-baaj and later years saw the promotion of sitar, sur-bahar and sur-singar.
In the context of our guru-sishya parampara and the oral/aural tradition, you once mentioned the ‘mediation of the eye’ in western classical music. Don’t you think a guru’s role is equally vital there in guiding….?
Mediation of the eye is important in Western classical music because of the reliance on the system of notation. The journey is from note to note but nothing as much may happens between the gaps. It is in the movement between notes that one’s culture operates. Mimesis is the basis of our music-teaching. Our music fills up with meends, gamaks, bols and these cannot be written down. We clutch the guru’s imagination, his mind that is so private. A guru gives good active seeds… but can one teach creativity?’ The artist or maestro, as T.S. Eliot says, lives at a conscious point where past and future are gathered. He has all the richness of the past, waiting to pass it on to the future, for his students to gather it all. So I try to teach, but a problem which I have repeatedly faced is this: I can transfer musical information but I don’t know yet, how to transfer the sense of relish. This is important in the kind of music we play and teach because the given is so tenuous.
Can you explain the artist’s process or desire for mastery?
To make better music– there is a desire, which is a life-long process- to create a match – to bring the thought and performance nearer and nearer. Actually it is the desire to translate what is happening in your mind into your fingers – even without that gap. The finger itself becomes imagination. But curiously the more you master, the more your imagination becomes active. Because what strikes you or me is seriously limited by what we can execute in singing or playing. And as that capacity improves, your imagination improves. The more you go toward mastery the more you see, the more you climb, the more you see. So there is no end to that – they feed on each other. Because you see, you want to climb more. Because you climb more you see much more. And so it goes on. And that act itself is a matter of very profound satisfaction – a fullness, which I suppose is why you are really after this exploration of mastery. In music it is more obvious perhaps, but it is there in everything.
In the education of a performing art, there is the finding of greater and greater satisfaction in the possession of the knowledge you are seeking. The same art can be treated as a discipline or can be treated more casually, mechanically as a subject. When music becomes a discipline, that’s your life, when music is a minor subject, it’s very different. If anything becomes a discipline, you seek a fuller kind of satisfaction. Simply being well- trained in something is not enough. Often many are well-trained for a purpose which quite often lies outside the central subject. Their own interests are elsewhere. When something becomes a discipline, that becomes a center of interest. If it isn’t, it shows. And in some artists it becomes obsessive. And when it isn’t obsessive or the central interest you can make out at some stage.
How would you describe mastery in this art form?
If given more time, I will go more and more toward radiant simplicities. Those simplicities are the product of a lifetime. Any durable experience has to arrive into a state of simplicity. Courtship is complex, a durable marriage is simple.
Friends belonging to the Ekswar group had arranged a sitar concert of an artist who I had known only through Facebook. The musical evening was arranged as an almost private baithak on a terrace with a cozy ambience. I had never met the musician before, and so I was eagerly looking forward to the concert. A lot has been written about non-Indians performing classical Indian music; over the years, I have observed that these musicians work harder to gain deep insight into the music. This is exactly what I found as I heard the sitar artist Josh Feinberg play. He played the sitar as if he had been at it since birth.
Like any Indian musician, he started learning music at a very early age. He started with the piano at four and then moved to learning the bass at eight. lAt twelve, he had already made up his mind to be a professional artist and would practice up to twelve hours per day. Later his jazz studies with Dan Weiss also introduced him to North Indian Classical Music and he was particularly fascinated by the music of Ali Akbar Khan who played the sarod and that of Nikhil Bannerjee who played the sitar.
His foray into the sitar began with lessons under Vijaya Sundaram. At the New England conservatory of music, Boston where he studied for a Bachelor’s degree, he studied sitar under Dr. Peter Row and Dr. George Rukert and khayal and raga theory under Warren Senders. By 2005, Feinberg started learning under the world renowned sarod player Ustad Ali Akbar Khan himself. Later, his senior students as well as family members were instrumental in helping him continue his studies – these included Khansahab’s sons Ashish Khan and Alam Khan and students Tejendra Narayan Mazumdar, Anindya Bannerjee, and James Pomerantz. He also received guidance from the tabla wizard Swapan Chaudhury, and released an album with him accompanying on the tabla called Homage released in 2013. In 2014, he released another album One Evening in Spring with another tabla great Anindo Chatterjee accompanying him. He also holds a Master of Fine Arts from the Goddard College.
Feinberg has become an internationally known sitarist with concert and lec-dem tours globally – in Europe, North America and India. If I were to rank him, I would rank him very highly among contemporary musicians. I base this assessment based on listening to recorded tracks along with attending that memorable live concert alluded to in the beginning of this essay. The tonal quality of his sitar is his own – mellow but very sweet; he is in no hurry like modern sitarists’ to start and complete a raga within minutes, he plays like a garanedar performer, (a person whose family has been learning this instrument for many years) the old silsila (unfoldment of a raga) is followed with a quiet old world charm giving serenity, lending a meditative aspect to the performance. He combines wonderfully with his accompanists and is always in rhythm with them throughout the performance. Many famous and known institutions have organized his concert performances which include ITC-SRA – Kolkatta, Harvard University, Boston Centre for the Arts, The New England Conservatory of music, Gandhi Memorial Centre, Ragamala and Basant Bahar Festivals, and the Fullbright Conference in Aurangabad to mention a few. He has been featured in many radio and television programs in the United States, Canada and India.
Outside of traditional North indian classical music, Feinberg has explored and collaborated with a number of musicians. This includes projects with legendary tap dancer Savion Glover, acclaimed saxophonist Patrick Lamb, recording for jazz drummer Richie Barshay’s album Homework with pianist Herbie Hancock as a special guest, and recording on cellist Gideon Freudmann’s album Rain Monsters. He was also the featured soloist in a series of concerts with the Seattle Choral Company performing Eric Whitacre’s piece Winter which was composed for choir, orchestra, sitar solo and tanpura.
Beyond performing, Feinberg also teaches regular classes in Portland along with lessons online to students around the world. He is a faculty member at Lewis and Clark College, Reed College, Marylhurst University and is a faculty adviser at Prescott College.
He has also written a manual called ‘Sitar Method’ for the world’s largest music publisher Hal Leonard Corporation, a book geared to helping beginner and intermediate sitar learners. Along with exercises and compositions, the book also has an audio Cd to aid learning. This is available for sale from his web site www.joshfeinbergmusic.com . An update of this book is on the cards and will be accompanied by a video too.
A recent quote from Feinberg talks of the magic of creating and enjoying music. He says, “One of the hardest things as a performing artist (to me at least), is to live in the moment: to leave all expectations, all technique, all planned and practiced phrases at home. To be immersed completely in the moment—in your music—while sitting in front of a crowd of people intently listening to your every note, and having both you and your audience forget the whole world.”
His feelings convey the dedication and intent of a great musician. According to him, music is a universal language bringing people of all cultures and walks of life, together. He resides along with his poet-wife Jessica, children Sophia and Noah in Portland, Oregon.
Kishor Merchant is a music lover residing in Mumbai, India.
Happy Earth Day! Ride a bike! Plant a Tree! Honor an environmental activist!
Vandana Shiva, Ph.D., an activist and thought leader on the social and environmental impacts of industrial-scale agriculture and globalization, headlined Virginia Commonwealth University’s Earth Week activities.
Shiva has spoken, organized and consulted worldwide on issues including genetically modified organisms, biodiversity and sustainability. She is the author of several books, including “Water Wars: Privatization, Pollution, and Profit,” “Stolen Harvest: The Hijacking of the Global Food Supply” and “The Violence of the Green Revolution: Third World Agriculture, Ecology, and Politics.” Shiva trained as a physicist at the University of the Punjab and earned her doctorate from the University of Western Ontario.
For those unable to attend, a livestream video will be available on the Office of Sustainability’s Facebook page at www.facebook.com/vcusustainability.
Shiva’s speech is among many activities planned by student groups and departments at the university in celebration of Earth Week:
By Nisha Agarwal It is not for the first time I am away from my family, but it’s the first time I am handling everything on my own. I enrolled in Evergreen Valley College (EVC) for my Major, knowing that the education I am going to receive here, will not just be from...read more
South India Fine Arts (SIFA), is the premier organization in San Francisco Bay Area dedicated to the promotion, preservation, and presentation of South Indian fine arts. SIFA is proud to present its Spring 2018 Season artists. We started off the Spring 2018 Seasion in...read more
How much water should you drink in a day?
There isn’t a simple answer to this question that applies for everyone. Individual needs vary.
You need more water depending on your constitution (people of pitta prakruti tend to feel hotter, sweat more, and feel thirstier); season (summer); location (hot, dry, windy); diet (dry foods); disease conditions (diabetes); and medications (diuretics). So it is best to listen to your body’s signals and respond to them promptly.
Don’t ignore thirst
The body gives you a clear signal of thirst. If that is ignored, the throat and mouth get parched, and you feel weak, dizzy, or disoriented. Further, it may even result in hearing loss or heart dysfunction. Similarly, other natural urges and signals of the body should not be suppressed and ignored. These are hunger; the urge to pass flatus, urine or stool; coughing, sneezing, burping, vomiting, or yawning; shedding tears; sleep; heavy breathing after exercise; or the sexual urge. Suppression of natural urges throws the doshas out of balance, particularly vata dosha.
So, be mindful of thirst, and keep yourself hydrated throughout the day.
In the morning
Start your day by drinking one or two glasses of warm water. Don’t force it down to fulfill a quota for the day. Instead, pay attention to the signals from your body and drink as much as feels right. Then during the day keep a thermos or kettle of warm water handy, and drink when you feel the need to quench your thirst. At first you may not like the taste of warm water, but in a week or so it will start feeling good.
Try drinking warm water, and observe how you feel. Note any changes in your appetite, the time it takes to digest meals, body weight, and urination and bowel habits. If you had problems of constipation, flatulence, breathing difficulties, body ache, stiffness, lethargy, cough, sore throat, or runny nose before, do you notice any changes?
Some people may not be able to down warm water at all. They may have a pitta constitution or may be suffering from a pitta ailment, in which case cool water (at room temperature) is better for them. If the weather is hot, cool water helps to quench thirst better. It is also better for relieving dizziness or exhaustion after physical exertion.
Water, no ice
Ice-cold water, on the other hand, douses agni. That means that it slows down digestion and all other metabolic processes. This has an adverse effect on body weight and immune strength. So in ayurveda when cool water is advised, it means water at room temperature—“water, no ice.”
When is it too much?
Water is the best drink, but you can have too much of a good thing. Drinking too much water diminishes the digestive agni, and causes indigestion. Undigested food produces ama, a heavy sticky substance that blocks channels in the body, and combines with the doshas to cause various illnesses.
Also, water and all fluid consumption should be restricted in certain conditions like loss of appetite, sluggish digestion, edema, the common cold, and recent fever.
Around meal times
Water affects our appetite. After drinking warm water it may be almost an hour before we feel hungry. Cool water delays hunger even more. So don’t drink water (or nibble on any food) for at least an hour before a meal. Otherwise, it will kill your appetite and delay digestion of the meal.
Instead, sip a little warm water with your meal. This improves digestion. How much to sip depends on the liquid content of the meal. If you’re consuming a thin soup, dal, or rasam you don’t need to supplement it with water; but if your meal consists mainly of dry items like bread, salad, vegetables, or chapatis, then sip about half a glass of water. According to Charaka Samhita, at the end of the meal, one part of your stomach should be filled with solid food, one part with liquid, and a third left empty.
Tune in to yourself
If you pay attention to how you feel after a meal you will instinctively know how much water is best for you. If your food gets properly digested, you will feel light and energetic, and will be hungry in time for your next meal. If you get sour burps, or a burning sensation in your chest, throat, or mouth an hour or two after a meal, it may be because the food was pitta-provoking, or you drank too much water. Too little water also slows down digestion and causes constipation.
Water and body weight
When you drink water also affects body weight. According to Susruta Samhita, an ancient treatise of ayurveda, if you habitually drink water before a meal, it decreases body weight; sipped with a meal, it maintains the same body weight; if you drink water after a meal, it increases body weight. So to lose weight you may drink a moderate amount of warm water, herbal tea, or soup followed by a light meal. Exercise caution if your agni is already weak, which may be inferred from lack of appetite and slow digestion. In that case it is best to skip a meal or wait until you feel hungry.
Drinking the optimum amount of water at the right time throughout the day helps to keep agni in balance and aids in digesting the food you eat. A balanced agni wards off illness, and is key to a long healthy life.
This article was first published in April 2016 and is being republished in April 2018.
Ashok Jethanandani, B.A.M.S. and Silvia Müller, B.A.M.S. are graduates of Gujarat Ayurved University, Jamnagar. Jethanandani now practices ayurveda in San Jose. Illustrations are original works by Silvia Müller. The concepts presented here are based on the classical texts of ayurveda. www.classical-ayurveda.com.
This article was first published in December 2016 and is being re-published in honor of National Poetry Month.
Of late, I have physically embraced the cloak of solitude. Reprimanded often as a dreamer in kindergarten by teachers, now having escaped their vigil I have resigned to my perilous hobby of contemplation. As a doctor, during the day, the drama of disease directs me but in the evenings I am abducted by the poems of Amrita Pritam, Mary Oliver, Robert Bly, Naomi Shihab and Faiz.
I sit still in my home frontier, my easy leg crossed over my other ankle. I tune into their voices. They speak to me intimately as though they have waited for me forever. I am perhaps as enthralled as the spring leaf on the old poplar that thrills in a mysterious shawl of bird song. My identity is revealed, shaped, molded and deepened by my intention to observe and experience my scattered self in their verse.
As I read I, once again, frolic through long summer afternoons free from adult censure. In the body of the poems the memory of my mother’s face emerges. I feel the bright light on my father’s forehead and admire his beautiful strong, artistic hands. His laughter echoes as it tumbles back across time at my first haircut or a stolen cookie and his knotted brow is real too when he looks at my math grades. He smiles his approval at the gold medal I won for an essay about the leprosy home. My mother’s nimble fingers complete the shadow work on my white organdy table cloth from fifth grade. Jumping off rickshaws, scraped knees, a rising cake in a round oven, my first crush, peeling off soaking wet garments, broken spectacles, running out of paper in final exams, frog leg experiments, spinach gulped down with water. Everything is a beautiful song that weaves in and out of my memory becoming my poem.
It is the miracle of remembering and experiencing everything all over again—just right, just as it was meant to be—the nurturing in our Zen-like childhoods. This is comforting as I give myself to the compassion of being solitary.
The sound of dad’s voice reading poetry late into the night, books piled beside his pillow meet the same turf on my bed. Writing becomes a sacred deed and carrying their emblem poems in the deep pockets of my soul my creed. This evening and essay is devoted to Amrita Pritam’s poetry.
Amrita Pritam (1919-2005), was a notable 20th century Indian poet, novelist, feminist and a proud daughter of Punjab, (now in Pakistan). She was the winner of the Sahitya Academy Award in 1956 for Sunehedey (messages) a lifetime achievement award given to the “Immortals in Literature” the Padma Shri and the Padma Vibhushan. A prominent voice in Punjabi literature, her work has been widely translated into Hindi, English, Urdu, French, Japanese and Italian. Through her writing, she has become the friend and confidante of so many women across the continents.
Amrita’s magic permeates the soft and deep hues of dreams, infatuation and longing. She blithely walks into the recesses of my heart blowing away reticent cobwebs with her easy rustic Punjabi dialect. She lets me dwell on my own heartbreak and listens long like a childhood friend. Then she talks to me in an intimate tone but when I open my eyes her words don’t leave. They remain accessible and timeless for me. How did she become so insightful? Perhaps she internalized her grief when her mother died at the tender age of eleven and in the depth of her poetry of commonplace things a penetrating sagacity emerges. Amrita’s verse has the redemptive grace of the Holy Ganga as she flows ebulliently through my mind-locks and washes away scars of distress.
This first prominent female poet of the twentieth century who lived in Lahore,(the city of gardens and free thought, birthplace of my father, Swadesh Kumar Kapur) is my kindred spirit. When I am with her, I inhale the fragrance of my fertile motherland of flowing five waters. Amrita helps my mother dress me in my bridal red and reminds the elders that they are not warning me of inherent untold suffering that comes with leaving the parental home.
In her poignant poem “Peed kudi di chholi pao” she implies that the bride is unaware of the pain she will receive along with all the blessings and sweets in her lap. But after the rude shattering of her naïve dreams, she wraps the weary soul of many young girls in the shimmering moonlit embroidery of her prayers in her poem “Channan di phulkari topa kaun pphare.” (Who can put a stitch in my scarf embroidered by moonlight?) In this poem, she compares the essence of pure love to a luminous embroidered moonlight which is so sheer that only a seer can embellish it.
Amrita was a born romantic; she used to compose romantic couplets in her pre-teens and tear them up fearing that her father would read them. She married young, but did not find her Ranjha (soul mate from the epic Heer Ranjha) in marriage. After separating from her husband, she fell in love with the romantic poetry of a contemporary of hers—Sahir Ludhianvi. This poignant relationship emerged in their verses but they did not unite in real life. The story of not meeting her poetic soulmate is recounted in her autobiography Rasidi Ticket (Revenue Stamp). She did not abandon the idea of romance, for in her golden years she lived with artist and illustrator Imroz. Her poem beautifully expresses this love for her partner of 40 years. Many beautiful poems were written in those years.
Rall gai si es vich ik boond tere ishq di
Esse layi main zindagi di saari kudattan pee layi
Because a drop of your love had blended in
I drank the entire bitterness of life.
When she was breathing her last she composed this piece, “Mein tenu pher milangi.”
I will meet you yet again
How and where? I know not.
Perhaps I will become a figment of your imagination and
maybe, spreading myself in a mysterious line on your canvas,
I will keep gazing at you.
Perhaps I will become a ray of sunshine, to be embraced by your colors.
I will paint myself on your canvas
I know not how and where—but I will meet you for sure.
I know nothing else but that this life will walk along with me.
When the body perishes, all perishes;
but the threads of memory are woven with enduring specks.
I will pick these particles,
weave the threads,
and I will meet you yet again.
Freedom of thought defined the writings of one born in a remote village of Punjab.
Aaj Maine Aapne Ghar Ka Number Mitaya Hai
Aur Gali Ke Mathe Pe Laga Gali Ka Naam Hataya Hai
Aur Har Sadak Ki Disha Ka Naam Paunch Diya Hai
Par Agar Aapko Mujhe Jaroor Pane Hai
To Har Desh Ka, Har Shahar Ki
Har Gali Ka Dwar Khatkhatao
Yeh Ek Shap Hai, Ek Var Hai
Aur Jahan Bhi Azad Ruh Ki Jhalak Parhe
Samajhna Vah Mera Ghar Hai
Today I have wiped out my street address
If you want to find me
Knock on every door, of every street
Where you find a glimpse of a free spirit
That’s where you will find me.
As I read her poems aloud, my voice mingles with my father’s voice reading poetry late into the night. His gusty voice urges me to keep marching despite the overwhelming grief of bereavement. Two years back, for Diwali, my dad wanted to give me a parting gift. I could not receive this final gift from his hands but I found palliative solace for my insurmountable grief in the audio CD Amrita Pritam: Recited by Gulzar, 2007. I played this repeatedly as I went through my days aimlessly. After my father’s demise, her words became my anchor. The ambrosia that personifies Amrita’s name became my salvation.
Mere thande kkhut de mitra, Keh de jo kuj kehna
Mein ik tidke kkade da paani
Kal tak nahin rehna…
Translation: Oh my friend who shared my cool drink of water in good times,
Please tell me what’s in your heart
My life is trickling out like a stream of water from a
I will not be here long.
I am certain that these handful of poems that I keep tied in my heart are indeed the mysterious gift from my dad. Yes Amrita, my friend: “Mein tenu pher milangi.” I will meet you again and perhaps we will together wake up Waris Shah from his grave and implore him to rewrite the devastating narrative that marred our birthplace in 1947 during the Partition.
These immortal lines are from Amrita’s transformative signature piece: Ajj Aakhan Waris Shah nu:
Here she implores the 17th century Punjabi poet Waris Shah of Heer Ranjha fame to rise from his grave.
Ajj Aakhan Waris Shah Nuu,
Ki tu Qabraan Wichon Bol,
Tey Ajj Kitaab-e-Ishq Daa,
Koi Agla Warka Phol
Ikk Royi Sii Dhi Punjab Di,
Tu Likh Likh Maarey Wain,
Ajj Lakhaan Dhiyan Rondiyan,
Tenu Waris Shah Nuu Kain
Uthh Dard-Mandaan Diya Dardiya,
Utth Tak Apna Punjab
Ajj Bailey Lashaan Bichiyaan
Tey Lahoo Di Bhari Chenab
Kisey Ne Panjaan Paaniyan Wich
Diti Zahar Rala,
Tey Unhan Paniyaan Dharat Nuu
Dita Paani Laa
Oh Waris Shah, you wrote volumes on the pain of one Heer.
Speak out from your grave
Today, a million daughters cry out to you, Waris Shah,
Rise O’ narrator of the grieving!
Look at your Punjab, the fields are lined with corpses,
And blood fills the Chenab.”
The effects of this fracture of Partition are still reverberating in the mountains of Kashmir. Today we can surmount our challenges if we tune in to the timeless classic poetry of Amrita Pritam. Her bold, revolutionary deeply romantic and spiritual poems have a universal appeal that echoes through several genres. Let us invite her clear voice into the sacred space of our solitude.
Monita recommends reading Selected Poems of Amrita Pritam by Pritish Nandy.
Monita Soni is a pathologist and diagnoses cancer. Her writing style weaves eastern and western cultures. You can hear her commentaries on WLRH-Sundial Writers corner and on “All Things Considered.”
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