Document conversations with designers, artists, writers, thinkers, musicians, philosophers, and other luminaries from India.
Who is the pot? with Sangeeta Jawla
Sangeeta Jawla, a research scholar, a practicing potter and a storyteller joins us on Audiogyan to talk about clay and it’s social and cultural relationships.
Conflictorium with Avni Sethi
Avni Sethi conceptualized and designed the Conflictorium. This episode is a case study to know about it. Avni is an interdisciplinary practitioner with her primary concern lying between culture, memory, space and the body.
Re-designing cities with V. Ravichandar
V. Ravichandar joins us on Audiogyan. We talk about re-designing cities keeping Bangalore as a peg. Ravichandar is Non Executive Chairman, Feedback Consulting and Honorary Director, Bangalore International Centre. He is also the Honorary Consul, Republic of Slovenia in Bengaluru.
Research in music with Srijan Deshpande
Kumar Gandharva once said…कला सारखी बदलत असणार, जी जन्माला आली की मृत्यु आहे त्याला, अशाला तुम्ही सारखे बांधून ठेवता, म्हैस बांधल्यासारखे? संगीतासारखी कला सारखी बदलत असते, म्हणजे त्याचं शास्त्र बदलत नाही, त्याचं सौंदर्य बदलतं.Today we have Srijan Deshpande with us on Audiogyan. He is a dedicated student, performer, researcher, teacher, and archivist of Hindustani Raga Sangeet. Srijan is currently pursuing a doctoral research project at the Manipal Centre for Humanities, in which he is attempting to construct a rigorous account of Pt. Kumar Gandharva's musical alterity in the context of the twentieth-century tradition of the khayal.We’ll be talking about wide-ranging topics from manyata (acceptance) in the context of tradition to music research, keeping the Legendary Kumar Gandharva in the backdrop. Who is apparently considered a rebel in Hindustani Classical Music.A quick shout-out to Baithak Foundation and Dakshina Dvaraka Foundation for introducing me to Srijan at a wonderful workshop “Talking with Tradition”. which happened in June 2022 in Pune. More details in the show note.In most Indian classical art forms, things are communicated in metaphors and one has to decode them based on context. Do you see that happening in Music? What according to you could be the reason for this? Any examples?In Music, we have manyata. What is this manyata or acceptance as we call it? Can it be systematically studied as a research subject? Since I suspect Kumarji never accepted the way things were.If we consider Hindustani classical music to be all about improvisation and very personal exploration - What could be possible ideas or interventions by curious minds to build a hypothesis? How can one pick anything as a research subject?What can other research projects be undertaken in the context of Hindustani music?Can you tell us about your journey in the quest to know Kumar Gandharva. Any insights you have discovered about the legend?https://srijan.stck.mehttps://www.linkedin.com/in/srijand/?originalSubdomain=inhttps://twitter.com/srijandhttps://www.youtube.com/channel/UCOErqOsiFNW8h-c6gwPfufwhttps://www.facebook.com/srijan.deshpandehttp://baithak.org/talking-with-tradition/http://baithak.orghttps://www.facebook.com/dakshinadvaraka/posts/sushruti-santhanam-is-a-carnatic-musician-and-researcher-who-was-trained-in-the-/830247033676285/https://baithak.org/baithak-classes-initiative/carnatic-vocal-recital-by-sushruti-santhanam-at-tmcp-centre-charoli/https://www.thedakshinadvaraka.orgSamvaadfoundation.orgSatyasheel.comBakhle, Janaki. 2005. Two Men and Music : Nationalism in the Making of an Indian Classical Tradition. Permanent BlackClayton, Martin 2008. “Introduction: Towards a Theory of Musical Meaning (in India and Elsewhere).” British Journal of Ethnomusicology 10 (1): 1–17. https://doi.org/10.1080/09681220108567307Deodhar, BR. 1993. Pillars of Hindustani Music. Popular Prakashan.Deshpande Vamanrao. 1987. Indian Musical Traditions : An Aesthetic Study of the Gharanas in Hindustani Music. Popular Prakashan.Gandharva, Kumar, and M. V. Bhatavdekar. 2007. Kumar Gandharva: Mukkam Vashi. 2nd ed. Mumbai: Mauj Prakashan.Komkali, Kalapini, and Rekha Inamdar-Sane, eds. 2014. Kaljayee Kumar Gandharva. Pune: Rajhans Prakashan Pvt. Ltd.Manuel, Peter. 2015. “The Intermediate Sphere in North Indian Music Culture: Between and Beyond ‘Folk’ and ‘Classical.’” Ethnomusicology 59 (1): 82–115. https://doi.org/doi:10.5406/ethnomusicology.59.1.0082.Neuman. Dard. 2012. “Pedagogy, Practice, and Embodied Creativity in Hindustani Music.” Ethnomusicology 56 (3): 426–49. https://doi.org/10.5406/ethnomusicology.56.3
Green Humour with Rohan Chakravarty
I am quoting our today’s guest’s from one of his article…“I have this presentation that starts with me asking my viewers to identify three sets of entities that are put forth visually: The first set of people is Priyanka Chopra and Nick Jonas, the second set is Narendra Modi and Donald Trump and the third is a species of Dragonfly which is very common in India called Ground Skimmer. And most people, unless you are scientists, can identify the first two sets of entities but not the third one. And that is my main complaint because my life and the lives of my viewers revolve more around the dragonfly, rather than Priyanka Chopra, or Narendra Modi, as the dragonfly eats mosquitoes and saves us from diseases.“Today after a year long chase finally we have Rohan Chakravarty with us on Audiogyan. He frankly needs no introduction. Rohan is a cartoonist, illustrator, wildlife buff and creator of Green Humour, a series of comic strips about nature. He tweets as @thetoonguy and posts as @green_humour on Instagram.People around me and including myself can identify cars but not trees or birds. How did you get into this and what keeps you so motivated to go in depths of each artwork on various levels… technically, politically, artistically and more…?What is the difference between a comic, a cartoon and an illustration? How do you capture and then curate the core essence of what you wish to communicate. For eg: I am not much into wildlife but became your fan when i saw your Abbas Kiarostami comic.Where does the humour come from? How would you define your style of work? Why do critics who think of anthropomorphism as a weakness in a storyteller’s inventory?How do you find balance between the artistic side of your work and the scientific side? How has it changed over time? Is the political narrative increasing as each passing day with situation around us?What is the toughest part of your job? What 3 things you would suggest artists, designers, problem solvers, if they want to be like you?Reference readinghttps://indianwritinginenglish.uohyd.ac.in/on-the-conservation-trail-with-rohan-chakravarty-an-interview/https://twitter.com/thetoonguy?lang=enhttps://www.instagram.com/green_humour/?hl=enhttps://www.greenhumour.comhttps://eco-spotlight.com/spotlight-interview/green-cartoonist-rohan-chakravarty/https://www.thenewsminute.com/article/too-many-issues-too-little-time-author-rohan-chakravarty-green-humour-152608https://www.wildnavigator.com/2012/06/a-cartoonist-draws-wildlife-conservation-meet-rohan-chakravarty/
Designing Green events with Indraja Khare and Aishwarya Lonial
There are some 16 events / rituals which are performed in a life of an individual. From birth to death. If we calculate with 140Cr people, I am sure, it’s of a number. Well, worry not, we have Nose to Tail - Designing celebrations which are beautiful inside and out. Founded by Indraja Khare and Aishwarya Lonial. They design Green events and a strong believer and proponent of up-cycling and sustainability. What started as a College project at MIT has now become a successful venture going strong for 4 years. Today we’ll try and document case study with Indraja and Aishwarya and know about designing green events.How did “Nose to Tail” come to be? Whats with the name? What do you girls do exactly? Why?Can you share landscape of events w.r.t number of events, types of events that happen on a regular day in India. Or if you want to address your TAM. 🙂 (Or may be share some numbers to give perspective of the kind of waste we generate)What all types of waste that is generated in any event? What is the biggest waste that you optimise for?Can you share any case study or any client’s event that made you convinced with this mission you are on?How do you design green events? Some nuances will help. If you can walk us from ideation to finally wrap-up?How do you balance emotions with rituals and being practical and talking about waste when people celebrate in silos without being aware of the bigger context?Can you talk little bit about the materials and sources you use to make an eco-friendly event? Can people do on their own?Can this model be scaled? How do you envision future of events in India? Any other countries doing it and with what degree of awareness?How has your design education helped here w.r.t problem solving? What is your biggest learning after Nose to Tail - a message you want to give budding designers and fellow practitioners?
Very useful and detailed discussed in and around design
Love the episode on guru shish parampara.
Loved the Indian memory project with Anusha Yadav. Interesting conversation!
Kedar brings out the value
I have been listening to Audiogyan for sometime now and loved every single episodes of this podcast. Kedar brings out the best insights on design and related topics I enjoy listening to while I commute to my office. I highly recommend design enthuisiasts to check Kedar's work.