The difficult month that went…by and by

This was a difficult month, for all of us. But today is the last of the month and a lot of that difficulty is now behind us. Yet I want to scribble here in brief what all happened so that if ever a time like this should come I would remember, we have been there before.

Papa had to undergo a open heart surgery- all of a sudden. That was decided in the first week of the month. The date was set for the 10th. On the 1st of the month it was his angiography which told us about the blockages in his heart- they were four when the surgery was performed.

Around the same time Raga’s tail amputation happened, and while the tail was still recovering she had a bladder issue- she stopped passing urine. the vet said that she has lost sensation of a full bladder- due to paralysis. It was a nightmare after that- every alternate day I would be taking her to the vet for a catherization! As a result in the second week, she developed a Urinary Tract Infection (UTI). That coincided with Andre being here- so between him and me, we kept taking her to the vet daily for cleansing her bladder with saline and antibiotics- six days continuously. By the end of this time it was time for Andre to go back, as well as for papa to return from hospital post surgery.

But this was not all, I also got to teach music in a teacher’s training department for three hours at a time- six sessions in all, to over 20 girls per session. Not the easiest of tasks to perform. Tomorrow is the last of them- thank god. Teaching such big numbers is not interesting at all, unless the students are motivated.And that usually does not happen easily in Indian universities. But every effort of this sort is generative to a researcher like me- so I am busy writing about the experience and drawing the outcomes from it, whatever they could have been.

I had to let go of writing an article for a special issue of a journal in mental health, which had earlier accepted my abstract, many months ago- because my mind was very scattered this entire span of time. The sort of peace I require to write was simply not there. Plus Ginger also got a diagnosis of chronic Otitis and a couple of other things. So now, we know all our cards, no more surprises- hopefully the worst is behind us.

After the UTI I learnt to tease Raga’s bladder and now I can manage to press it twice a day in a way to help her empty it out. It is a great relief to see my girl fine, though weak and becoming more and more so. However, I know that I am tending to her the most I can, and keeping her close to me, the most I can…loving her, petting her, cleaning her, hand feeding her, grooming her, putting medicines in her mouth when required. I know this is the last of our moments together, nobody knows when the end comes- I do not want to miss whatever scope life still gives us- the borrowed moments- to love each other and remind ourselves how much we will love one another, even when we would not be able to touch each other. Until then, let me run my fingers on her back, her head, her face…my weak little old yet baby girl- who had once come into my life as a 45 day old puppy. My darlin Raga. The beauty is that while I write this, my baby is still sleeping behind me peacefully.

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The arrow of the ‘Bani’

The late nineties were a period of intense suffering for me. There was the suffering of the bipolar, which had made me a social outcast, and there was the suffering rather search for myself, via my musical self; which had to appear much later in life, at a philosophical and experiential level. One of the sources of this suffering was an uncertainty about the musical ‘knowledge’ (if I may use this word about it) I had. It felt, and was inadequate, half-baked, shallow, hazy and botched up, to say the least. The need for a guru, to lead me out of this darkness, was acute- rather desperate.

It was not the internet age. One did not know how to find a guru, the world was not so seamlessly connected and neither was one exposed to a lot of musicians in an average Indian, Punjabi household more so.

1998, saw me at the Gandharva Mahavidyalaya (GMV) in Delhi- taking the bus, walking the long sunny path, hiding behind the shadows of the UGC building at ITO, taking the footpath from the bus-stop till the school, climbing the stairs to enter the classroom, of hopeful ladies wanting to learn classical music from a reluctant-to-teach guruji (who in fact was more keen to get private students from the public ‘pool’).

Six months in the 7th year (Master’s) class there and I was done with it! The search began all over again- this time it brought me to two teachers together- two men, with different worldviews, but both saying the same thing- they would not charge me for teaching anything, once they were certain I was the right ‘disciple’! Both had different roots and different methods. With one I lasted but a few months, and found him to be one of the most rotten encounters of my life. The other was A guru who molded my mind, and raised my musical consciousness- the first among the wise teachers who would teach me.

Dasgupta-ji was unlike any music teacher one would ever meet. You entered into his small living room, where there was a high diwaan and two chairs on the side, and an adjacent kitchen. My parents had accidentally met him in the house of a common friend, and had offered to drop him home, as they were all coming back in the same direction. Upon discovering that he was a music teacher, they got curious as they had a musically curious and eligible student in the form of their own daughter (me) as a point of reference. On the way back home, the music teacher shared all about his musical pedigree and the parents were sufficiently convinced that this was someone who their daughter should be sent to.

At the same time, the daughter-me, had encountered the other musician- Hari Charan Verma, who was very gifted as an artist, introduced by the tabla- accompanist of the GMV 7th year class. I was taken in by his singing and knew that I had found my guru. It was a tussle for awhile…but I paid heed to my parents in a few months and decided to meet Dasgupta-ji.

The Guru with a Quirk

Imagine meeting a music teacher who has the following conditions-

  1. I will not take any money for teaching you;
  2. You have to learn with me three days a week!
  3. It will be the way I want it- and possibly over two hours at a time!

Perhaps the average music student would be thrilled with such a prospect. So was I! what better than a guru so generous…until one really got down to it.

So the training began- two and a half hours every Monday, Wednesday and Friday of the week. The first half hour was devoted to singing the pancham- by the clock too. Guruji would put his wrist watch on the harmonium in front and we would both get down to singing the ‘Pa’. The next hour hour was devoted to ga-ma-pa-dha; also by the clock. I do not remember what would happen after the first hour…but I do recall that I would be looking forward to the Marie biscuits and tea that aunty would bring forward, somewhere along the course of this. That was the sole bright spot of the whole singing- the Green Label Tea with its light aroma, and always the same taste- which I love till date.

But what a thing. Hours of singing and no musical ragas, no compositions, no fast paced actions, nothing- all at a century old pace, a leisurely dip in one note at a time for a youth (I was 25) who was so restless (thanks to psychotropic drugs), anecdotes from the lives of his gurus- Ustad Mushtaq Hussain Khan and Ustad Ishtiaq Hussain Khan, comments on the popular musicians of the day- which I hardly bothered about, and musical ideas that his gurus had handed down to him. I would be angry at times at the rebuff- he would stop me from singing so many times, and insist I slow down, I sing more precisely, more accurately. I was 15 years of a trained student, not a novice, and this was nothing but an insult for me. But I kept taking it- because he was never mean about it. He would explain to me, the significance of the ‘shuddh bani’. For the first time I heard it from him and understood the meaning of bani- and then I understood there were other ‘banis’ also going around- Dagar bani, Khandhar bani and one more (whose name I forget).

He would repeatedly tell me, ” Just learn the shuddh bani from me, and then sing whatever you want to sing. Sing classical, bhajan, ghazal or anything- but sing it in shuddh bani. Your voice will never become hoarse- you will sing the same into your old age, you will never go off-key.” Half the time, as i stood on the bus-stop later to take the never-to-appear bus home, I would tell myself I am not going to come back here again. But two days later I would still come back.

My stint with him did not last long- only for about a year or a little over. But it was enough to drop the seed in my head- the seed of the shuddh bani and then began my search, which would take me to many a guru and style, until I would come within and integrate them all.

When I would press him to know which musicians sang the Shuddh bani that he advocated so much, he would only name Mehdi Hassan and possibly Lata Mangeshkar. Among the classical musicians he was not willing to name any! It is not proper to name all the musicians he could find faults with- for this is a public medium and in India we hold musicians so ‘sacred’. But the fact of the matter is that, forget about Raga interpretation, even on the count of ‘swara’ musicians could find faults with one another. I have a lot of memories in my head about the family of Ustad Mushtaq Hussain that guruji shared with me- in particular how Khan sa’ab was so dismissive about most of his family and extended relatives. The only person guruji told me, who had any merit among Khan Sa’ab’s sons after Ustad Ishtiaq Hussain was Ghulam Taqi- but I think he also died early.

There were two people who I went to meet with guruji, on two separate occasions. One was Smt. Sumati Mutatkar- who was then into her eighties and the other was Ghulam Hussain, possibly a son of Khan sa’ab, or his son in law (I forget). The former lived in the Asiad Village and the latter in Zakir Nagar, Okhla. She had retired as the Dean of the Music Faculty, of the Delhi University, while he was a radio artist if I can recall correctly. And later guruji would have told me how Khan saheb had refused to teach either of them! But that is life.

When a tree becomes big, many can see it and reach out to it, to touch it and take cover under its umbrella and claim it to be a relationship, just because they have been close to the tree- regardless of whether the tree acknowledges that or not. In India, the musical learning tradition has no clear-cut pathways and anyone can claim to be anyone’s disciple (the way a certain big musician claims to be the disciple of Ustad Bade Ghulam Ali Khan, without even meeting him!). Delhi was full of musicians once upon a time who wanted to learn with Ustad Mushtaq Hussain, and Khan sa’ab would shoo everyone away or just while their time away, because he could see an ardent disciple from the ones who just came after his name.

He had after all seen Dasgupta-ji’s passion for a long time and tested him out, before taking me on as a student, but not before he himself had turned 93!

Mummy also stepped in

My mother has a strange relationship with some of my ‘people’- friends, teachers and gurus. With Dasgupta-ji also this happened- may be because mummy and papa had first met him, and not me. But mom got both guruji and his wife, a senior citizen’s pension, because she knew the local counselor of Kalkaji, who gave them the status of senior citizens. Guruji’s wife was very happy as for the first time in her life, she got money in her own name.

I learnt with guruji not more than a year, I think- but he got the pension from the government till the end of his life. I may not have paid him directly, but my mother ensured them some money for the rest of their lives. I feel proud of my mother for this, as also gratitude that she would do such things for people who had little connection with her in a direct way.

Today I remember Guruji, with gratitude that he raised my musical consciousness to that level where I could understand the different aspects of rendition and what makes a music touching as opposed to a musical wrestling, jostling or ‘smartness’. A deeper musician does not need to be smart at all, you just need to be simple and your music will speak to the heart of another directly- you don’t have to worry about impressions at all!

Last week brought a surprise…

A few days ago, a former student of Dasgupta-ji connected with me, thanks to the intricate web of the internet from somewhere in the US, and we got ‘talking’ (on email) about so many things- largely about our guru in common. But the uncanny thing was, that he said that he wanted to make a donation in the memory of our common guru, to Hansadhwani Foundation as a support for the work we are doing.

I am just thinking> money has a strange way of going around and coming around! This universe is so full of mystery, that it baffles me what all can happen. I am touched and humbled at the same time. The mysteries continue to unravel. Is this a blessing from guruji, by any chance? Is this an acknowledgement from the universe that I am on the right path- where without even me asking anyone someone is stepping forward to offer support? Is this a mystery or is it logical?

Feedback that gladdens your core

Of course every feedback is valuable to an artist, but some is more so. The ‘more So’ happens when it comes from seniors who are significant in their own right. Yesterday, by chance, upon listening to one of my ghazals (while sharing it with another dear friend who is equally fond of my music) I thought of sending a ghazal to a senior musicologist, who I got to know last year in the course of writing my (in progress) book. This senior musicologist is Sh.Deepak Raja, who also writes very insightful books (now four) and blogs.

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Deepak Raja, with his guru, Pt. Arvind Parikh- and the former’s fourth book, whose promotional lecture is on 14th July 2017

Books have strange and mysterious lives- they can grow and wane at a whimsical pace. That music book of mine has taken a backseat for now and in the course of it my contract with the publisher (a very prominent one in India) came to an automatic termination, as my health (spine) would not permit me any time on the computer. Nevertheless I have put in a lot of thought, labour and effort in it to whatever extent I have managed it so far, and for now I have laid it to rest and got busy in setting up the school of music and other related pedagological issues. Naturally enough at this juncture other things have taken precedence- possibly my Phd research most of it (it better), and my musical research not far behind (all in the compositional domain though).  Dogs have also contributed to this shift in some significant manner.

So coming back to the issue of the feedback, I sent a ghazal of mine to Deepak-ji, as I had had a WhatsApp interaction with him earlier in the day, for he invited me to a lecture of his to happen in the near future (14th July 2017) in Delhi. The day seems fine to me, being a Friday and I have no teaching classes that day. He will be talking about his book, Raga-ness of Ragas. I may or may not be able to go, but I think I would seriously give it a try. This was the first time I shared my music with him, despite communicating with him on scores of occasions- on email and phone, never in person as yet.

Earlier this morning, I received this email back from him-

Deepak Raja <deepak.raja@ >
to: Prateeksha Sharma < .com>
date: 25 June 2017 at 09:19
Dear Prateeksha,
You are an excellent singer. I am glad you sent me this link. Not an intrusion at all. I will now also hear other recordings. 
Thank you again. 
Warmest regards. Deepak 
Coming from such a heavy weight, it sure is a great honor, and I feel the need to write a post on my blog for I am so touched by his words.

As also that of my friend, who I just call here Ali- a professor of Linguistics in an American University, and a Pakistani by birth, and a  philosophical, deep and insightful individual . Upon hearing the same ghazal, he said this to me-

Thanks for singing the Urdu Ghazal, the way it should. The accompanist: baja, violen and Tabla jelled with the beautiful rendition filled with powerful musical expressions
The best is that singer kept the swaras and lyrics in a beautiful combination
(I have copied his words from my facebook chat with him)
Every appreciation is valuable, as I said earlier- but some are more so. These are two such.

With Raga, mid ragas and the inevitability of change

It’s difficult to accept, no matter what evidence life brings in front, that you will soon lose a beloved companion. With Raga the evidence is mounting every single day- her earlier mobility with the two front legs has become even less so. Perhaps it is even a notch worse. Now she is unable to turn sides pretty much and I check to see if she is sitting on one side for too long- then I help her switch sides.

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But I wonder if all the others have not got a little ignored because of her needs taking center on a day to day basis. Of course she is not the first one to get fed, because Dash always accompanies me to the kitchen and Nikki is sitting at the base of the kitchen stairs, watching me from below and wagging her tail joyfully at the prospect of what could be coming next. But yesterday, Nikki also gave me a jolt. she refused to budge. I saw her lying for long hours on one side, and then not moving at all- not even to ease her bowels and bladdar. I coaxed her, forced her and finally slid Raga’s loop around her body to help her move. Now Nikki is very heave as compared to Raga- it is not easy to move her using the same method I have been using with Raga for the last several months.

In the picture above Raga takes her favourite position close to me as I hold my tanpura for my practice and she listens, watches over and in general keeps all others at an arm’s length. But of course this picture was taken a few weeks back. I am not holding the tanpura with any regularity these days. She is more feeble, and several times a day I have to clean up when she pees inside the house or wherever – it is no longer predictable. I never thought I would ever come to such a point- because when you have seen dogs all your life, and never really faced disabling situations, you are just not ready for what can happen. However, I feel grateful that I can manage her despite my own spinal pains, and more so, that we returned back to our home in Faridabad, from Goa. I shudder to think what could have happened had we remained in Goa!

The time between the last and this blog post has seen the birth of my little venture of teaching classical music to children. After years of deliberating upon who should be the one one addresses in imparting musical knowledge, I come to the point of teaching children, because it is in them only that we can actually drop the seeds of knowledge with a long term perspective. By the time they are older it is career goals and other aspirations that take over. The venture, a sub domain of the non profit Hansadhwani Foundation, is called SwarGanga- music workshop.

Does workshop sound tentative?

Workshop seems to suggest a short span of engagement ordinarily. To me in fact the word represents movement, motion and churning. A music school becomes a dead place where the same sort of music is taught year after year to batches of students, in a fixed format. That is why I titled this venture workshop, because the process of churning represents motion, and I am personally constantly researching, innovating, creating and composing new musical ideas in response to the needs of learners I am with.

Of course large parts of my work are a direct dialogue with those I work with and a response to what they can imbibe. The work becomes challenging to say the least and that is where the fun lies- to be seriously creative.

We started in the first week of April. So technically, we are a month old into SwarGanga. In the months ahead I will have to make a website of it and get things up, for I realized that there are a lot of music schools going around in this neighbourhood. The only way to distinguish ourselves from this would be to put it on a website what we are all about and how we specialize in the areas we work in, which are quite a few- mostly in music psychology of course.

Cockatiels

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April is my birth month. I turned 45 this once. A lot of water under every conceivable bridge. So the new element that entered into my life this summer are the birds. It was a great moral and ethical dilemma whether to keep birds in captivity. I thought for many years and felt it was improper to keep them thus.

Of course my garden has many visiting birds the whole year through and it is a great feeling to keep hearing bird songs, and see them eating away the grains I scatter for them. But as I silently moped over Raga’s onward journey, I saw a new flash of light right here. She became very interested in the birds. Of all the dogs in the house she is the only one, who has any interest in them. To the extent that when I IMG_20170423_070457072bring up the birds’ trolley anywhere close or towards the back lawn she would get up from her supine posture and chase them on the trolley, by inching forward step by step.

I wonder if she objects to the birds around. I cannot say for sure, but she is certainly animated and I am glad that at least some dog has shown some response to the new creatures in our life. The other dogs could not care less. They go about unperturbed.

The birds are also relatively indifferent to Raga’s proximity and while she tries snapping at them behind the wire mesh of the cage, they don’t even bother to move away. This is the only time when she sits up. The back lawn is quite barren unlike the winter when the flowers were abundant. But thanks to the birds, Raga sits in the back area peacefully instead of trailing after me helplessly.

There is the inevitable prospect of change staring at me with all dogs showing some of the other infirmity. I try finding comfort in the thought that they have had a good life with me and I am doing the most I can, while we still have time. New life is springing around me- in new birds, new students coming, new people seeking counseling help, newer connections on intellectual and artistic journeys. If there is a deep sadness it is taken care of by the routine of managing so many sides of life- which do not allow much time to brood anyways.

I am reading some excellent books along the way, in mental health related issues. The areas of MH are extremely vexing and sad. I have also started a new blog to document my reading, writing and work related to mental health, with particular focus on recovery from all types of mental illness. This is my commitment to people to help them recover from their shattered selves and create beautiful, peaceful, serene lives for themselves and their families. I hope someday to offer my counseling for free- but for now I do not have the means to support that work in this manner.

I am only just beginning, and like mother says, just subtract the twenty years of ‘illness’ from your life and think yourself to be 20 years younger. Yes I love the spirit, wish I could. with all the pains in my body, it does not let me forget how old I am- but I do feel this is just the beginning this way or that way.

The long and short of it is that…

  • SwarGanga is born as the school of music
  • Raga is happy about the new birds in her vicinity
  • I am happy doing what I am in many domains
  • Life goes on and … Andre keeps coming, as do the rest of family
  • Nikki is looking fine now
  • Another blog (!!!) is born, exclusively reserved for my research in mental illness, recovery, my counseling on lay forums like quora, research articles and books I read and of course other media such as YouTube videos which I want to share and so forth.

Recovery story of one means that recovery of another is also possible

The companions of my research journey

The companions of my research journey

A few days back I wrote the following, for a public forum. I write with the idea that since we acquire all our knowledge in a social domain, we can also take ideas from the lives of others. When I was seriously ill, I had no one whose story could inspire me to get well, or even think that wellness was a possibility. But encountering the writing of Kay Jamison Redfield changed that perception. But considering that she was a big professor and I was a very small fry put me in no small anguish. That is why to write about the ordinariness of living a humble life, full of suffering and no real accomplishments, I hope would offer some milestones to others. Of course music is a unique part of my life and work, especially its contribution to my wellness.

Anyhow, this is the piece that was meant to be shared on that site, and it sheds a little light on how to read the story of one person’s successful recovery from a potentially disabling condition and why it is NOT a person’s story alone, but a cultural success for all humans, for we can see how within the resources that we have we can also create new outcomes for our suffering. This is my hope too. So while this is another link to my main paper (directly download from here), the other article follows here-

Recovery Stories foreshadow other recoveries

(This little writing is a prelude to my longer publication, which I ought to have offered to everyone who read the main paper. However since I did not think of it earlier, it does not absolve me of the responsibility of doing so at a later date. By writing this piece I hope to simplify the reading of my publication and to invite many other dialogic and creative possibilities using the arts, or music for that matter, toward therapeutic outcomes)

I do NOT want this to be read as a personal victory, for in that case I need not document it, by going over the laborious task of research writing and publication, which took a year and a half to be finally seen by others! The reason for me to work in research like several others, post our recoveries, is that we wish to see the patterns of disabling conditions at hindsight, enriched by our lived perspectives. Research always begins with a subjective agenda, but also has its own criteria. We cannot be telling our stories just to seek attention toward ourselves, but definitely there is an element of attention seeking involved here- yet not toward the person but the question of the research.

The question that I wish to address via this writing is that Recovery is (often/always) possible in serious mental illness, and that this paper shares the process of one such- the evidence of such a recovery. This is also a little background of why I head an arts based non-profit, a research organization of recent origins, whose agenda is to create synergies in health and education via the arts, and to create possibilities where more of such recoveries happen via the interfaces that such an immersion can bring about.

Auto-ethnography is NOT self advocacy

I often use autoethnography as the method to write about myself and it is not to be confused with self-advocacy. The purpose of the two is quite different. While we work in research we sometimes work in situations where we do not have access to others or our  stories are so unique that they, by themselves, carry enough seeds of ideas. This is more so in survivor- research (though my own preferred usage now is emancipatory research). The other situation in research is that once we get out of the tunnel ourselves we have seen the inner dimensions of it so well (which often I am afraid even the best professionals would have no access to, unless they are fearless like Stanislav Grof, who experimented with LSD, to understand various aspects of consciousness, the root of all that happens in psychosis or other serious troubles)

I vaguely try to distinguish between autoethnography (a/e)and self- advocacy thus:

  1. A/e is a legitimate qualitative research method, self advocacy is a PR tool.
  2. The purpose of a/e is documentation in a framework which can be used by researchers and lay people alike (if they want to read it), whereas the purpose of self-advocacy is to draw attention to the recovery of one person in the hope that they would inspire others.
  3. Purpose of a/e is to draw attention to the phenomenon, while in self advocacy the person is the phenomenon.
  4. A/e is never written for popularity but with a commitment that we offer our stories for the world, as a reflecting surface in which they can see their own stories, in particular those who face similar crises. Self advocacy is a way to draw attention toward oneself and sometimes to show the injustice one has faced. Likely every person in this unjust world faces a lot of injustice, as autoethnographers we just choose to respond to that injustice in a different manner-as compassionate warriors, not simply passionate ones.
  5. In doing a/e we go through a lot of heartburn for we have to write our stories ourselves and then bring in research evidence from various dimensions to show that they are valid, whereas in self advocacy mostly there is no writing involved of that academic nature. People have already bought your concept and you just have to go and talk about it- there is a market and there is a product. Who does not want to listen to the story of suffering of another and then pat their back? But how many have the courage to say, that listen, I am not suffering now, but I did in the past, so may be if we could just look at it together there could be something lying in my recovery that you can use.

Having said that, without wanting to be patronizing and self-righteous, with due respect for all those who work in self advocacy, I still want to say that we are all on the same side of the fence- teammates of the same team, though our methods differ, in accordance with our trainings, inclinations and abilities. It takes all sorts to wage a war, and people of varying abilities need to bring their abilities together to deal with the enemy that we all deal with- the enemy of human suffering. Let the generals come from all ranks, and those ranks not be determined by the dominant voices of a certain sort only.

There are of course scores of things that can be written here, also on the subject of why autoethnography and NOT autobiography. I will write about that separately on my blog that you can follow, if you like, here

 

Musical recovery of a musician is not the same as that of a non-musician

You will read ahead that I work in many aspects of music- including in research in  areas of pedagogy on one side, therapy another and also want to see the role of music in its interaction with identity. Even some of my published research in music is within the folds of psychology among other disciplines. I am not a musician whose work is all focused on performance, though that is among the many things I do on rare occasions.

Music Education or Music therapy? 

These are two close issues that need to be seen on a continuum. Music education involves an engagement with music directly, whereas music therapy is engagement with music mediated by another person, who is treated as the expert.

For a musician like me since engagement with music is at so many levels it is actually an occupational thing, not therapeutic- unless the musician herself is so incapacitated that there is no connection of that person to the outside world as a musician (which happened in my case), and the only connection you have with music is a means of venting out your emotional-spiritual chaos. But yes, it also provided me with a means to redefining my identity and not just view myself as ‘poor girl’. In later writing I hope to share the role of my dogs, who have been one of the key pillars and closest companions of my recovery, the role of my mother, and other members of my family, the homeopath and the chance encounter with him, via my sister and one or two close friends…and that is still not the end of the list. An 18 year long illness cannot be summarized in a few journal articles- it is slow, laborious and excruciating to visit it again and again, and I do not know when I would run out of steam.

In another paper of a bigger dimension (currently under review) in which I write about the overall work I do, in the creative dimensions, I have explored the role of music in a multimodal sort of a way toward my recovery, for the first time writing about my poetic side too, as well as weaving all these with what I do in research as well. On the one side I analyze about whether the work should be seen as serious creativity, on the other I contrast it with the death of another musician by suicide, to bring together evidence that music is not always therapeutic- even for musicians.

All my research is in fact an advocacy for music/art pedagogy, which in due course can have other outcomes too. If we see in the larger context it serves the purpose of my advocacy for art-education, for I believe that the arts ought to be a part of every child and adult’s life, not only in the process of education, but also as a means to expressing the emotional and spiritual fluctuations of being alive and resolving inner dilemmas in socially legitimate ways. I also believe this about other things, like connecting with nature, gardening, sports etc- but this is as far as what I can personally contribute via my (non-funded) research and its agenda.

How would music therapy work for the non musicians or those who are not interested in music at all?

I would like to treat these as two separate issues. I am not just referring to music (or a particular kind of music) but music as a form of art. So if some people do not respond to music, they may respond to other art forms. There ought not be to a forcible reduction of everyone to using music alone.

Everyone whether they know it or not, has a musical self, which is part of their larger personality. Many are aware of their musical abilities and inclinations but some are not. So we do not focus our energy on the method but the person and whatever they respond to, is what should be offered as their therapeutic medium. If we work in coercive ways, then we would force everyone in one way only and sadly this is what happens with modern medicine, but if medicine knew its limits or that it need not be hierarchical or dominant but collaborative, people would become the center of everyone’s work and I think that no problem would be above a solution then.

I have often worked with people who seem to have no music in them, which to my mind is unthinkable. But in saying this I show a bias within myself, for am I not then stereotyping them? I once worked with a group of school teachers who I could select out of 90, into three groups of ten each- I said I would only work with 30, as a pilot. There was  a group that just did not respond to musical notes, and I brought them all quietly together, without telling them what the common ground for connecting them was.

Then I started working with them using rhythm, not melody! They were all so thrilled firstly that they had not been excluded for they all had a very poor self image viz a viz their musical abilities, and then they were more keen to prove themselves worthy! I accomplished many things I thought with this little exercise- building self esteem, letting people identify their musical abilities and not be dominated by the view that they were tone deaf (which in fact they were!) and create new possibilities even for them. If we can turn around teachers we can turn around most things in the world. This is my philosophy.

With this introduction I invite you to read this article , as an offering in creating new possibilities in health via the arts. I would be happy to answer any further questions via this blog so that more people can also read them.

Music therapy for Recovery in serious mental illness

This is my recent publication in the Canadian Journal of Music Therapy. So this post is nothing but a sharing of that link and the rest is self evident. Oh yes, the acknowledgements are not proper in this version of the paper and they have to read as follows, which they do in the final version and in the hard copy which I will have in hand soon (am told it is in the mail). Here is the final acknowledgements-

 The author would like to thank professors Ajit Dalal and Girishwar Misra for their engaged critiquing. In making this publication more concise and thorough she would also like to express gratitude to the two anonymous reviewers for their comments and appreciation. The Editor of this journal also is thanked for her support, feedback and help with developing this manuscript. The author is grateful to Michel Satanove for help with preparing a final version of this paper.
And perhaps I cannot but share again that this article was so important for me that I even wrote an informal autoethnography about it, which had been shared right on this blog, several months ago. This article was really a torturous road!

When the guru aligns with you

I did not know that Saturday was guru purnima. Neither did Madhuri aunty, my guru, when she called in the morning to say that we could do an extra class together. I notice for the last few days she is generally happy with teaching me, and is more generous in sharing complex compositions that she has acquired over a long span of learning with her own teachers.

On Thursday, 10th July 2014, we started with Raga Lalit- a raga that I have always founded complicated and liable to go off-key easily in. But may be because I had not sung it in the last nearly two decades, nor learnt again ever after taking the exam in my teenage…it just came easily this time. Aunty gave me the option of one khayal, which could be either raen ka sapna or arre mann ram. Since I had learnt the former in my younger years, and its poetic appeal to my mind was not very high, I chose the latter. And both of them are uploaded here. In any case most bandishes for me are now about Bhakti or music is, or perhaps life itself is.

(The first bandish which talks about the night’s dream, perhaps alluding to the illusion of ignorance, which is akin to living in darkness of the night- does not really attract anymore. I find in it an element of lament that the illusion has been shattered, because the dream seen in the night is so confusing that the person who has seen the dream is unsure who to share it with.)

raen ka sapna, kaa se kahoon apna

(who shall I share the dream with, the one I saw in the night?)

When aunty heard me sing the khayal, she was so happy that she said she might teach me an extra class on Saturday. As per promise she called on Saturday morning herself and said we would have an extra class. I just thought what a turnaround life is – once upon a time there was a time when extra-classes looked like such an anathema. And now? A blessing from above. This is what I mean by the guru’s energy coming into your line with your own, when they are now willing to share their knowledge with you freely and by choice, by seeking you out. I have no gratitude to express, for I came close to this situation so many times earlier in my life, but never quite THERE- so now I am. Deepest gratitude to life, my teachers, my torturous road and my family in all parts of the universe.

Neither of us knew it was guru purnima that day, till another of her disciples called up to offer her regard and pranam to Aunty. And then for the first time in my life I had a strange feeling, that on guru purnima, this was the first time perhaps that my guru was ‘shining on me’. Purnima after all means the full moon. In general our learning is steady and progressive.

The next day she taught me a traditional bandish in the same and today an Jaipur gharana bandish. I hope to cover the one that Amir Khan saheb immortalized – for that is the final frontier for me. But even if I do not, for it is not important to sing the exact bandish, but the style is what matters ultimately, and fortunately I have learnt the pathway of that- rest is my honing, if I can.