Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
Share
Share our website with your friends.
Email this page to a friend
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Your Cart (0)
Books > Performing Arts > Raga'n Josh (Stories from a Musical Life)
Displaying 1021 of 1247         Previous  |  NextSubscribe to our newsletter and discounts
Raga'n Josh (Stories from a Musical Life)
Raga'n Josh (Stories from a Musical Life)
Description
From The Jacket

Sheila Dhar (1929-2001) studied at Hindu College, Delhi, and obtained her MA in English (with the highest distinction: summa cum laude) from Boston University. Though she wrote essays and stores with a skill possessed only be the rarest of raconteurs, the passion of her life was Hindustani classical music, which she performed, studied, and wrote about with profound insight and an uncommon wit. She served on the board of the Sangeet Natak Akademi and was advisor for music to the Indian Council of Cultural Relations.

Marred to the economist P.N. Dhar (who was for many years Indira Gandhi's closest advisor), she also had occasion to observe the workings of India's bureaucracy and political elites. She turned her pen on them with equal facility, summing up the pomposity and stupidity of babudom through incomparable real-life stores that are unlike anything written in modern Indian English.

Sheila Dhar's books include Childern's History of India (1961); This India (1973); and Here's Someone I'd Like You to Meet (1995).

Introduction

If a memoir needs a reason, mine is simply that wonderful things become even more wonderful for me if I can share them a dreadful things more bearable. The delightful and the biter both seem more valid if I can believe that I am not the sole experiencer. Driven by this infirmity, I have over the years compulsively told and retold some of the stories that appear here. They have lived and become old in the minds of my friends. At some point Lalita and Zainub who are closest tome began to ask why I did not write instead of talk.

That was a sobering thought because it implied a wider audience, which might not necessarily be as receptive. Clearly the writing venture called for a different kind of telling. For one thing, the vocal inflections and mimicry I used to rely on to draw character had to gave place to descriptions, of both the people in these tales and of the setting in which they appeared in my life. For another, I had to render each experience from the Indian dialect in which it originally happened into its rough English equivalent. This exercise demanded more concern-tration and effort than relating anecdotes, but the heady feeling that many more companions might now wander into my world was reward enough.

On the whole I felt that in urging me to write, my friends had done me a favour. They had forced me down to a deeper layer of myself. I am a singer and unrolling the pictures in my mind through the written word felt exactly like singing. At any rate it took me to the very place I occupy in my head and heart when I try to express my whole self through the idiom of music. This realization made me ask myself, seriously for the first time, what it is that I am really saying when I sing. I knew from the accumulated lore of a lifetime in music that a conscious switching off of everything one has learnt is a necessary prerequisite for a genuine musical performance. For me the act of singing ideally means recognizing and intensifying my own identity, and communicating it in the rigorous traditional idiom of an ancient musical language. This ideal is not always achieved, but when It is, my musical utterance inalienably carries within it the flavour of everything that has ever happened to me, and of all the emotional landscapes I have traversed. The feel of my grandfather's beard, the smell of the dank basement in our childhood home, the aroma of my Ustad's cooking, the sense of wonder I experienced at the pristine innocence of the Queen of Tonga, the sound of Siddheshwari's very musical but hearty belly laughs, the unbelievable simplicity behind Mohan Rao's eccentricities, the despair and the delight, the green Chillies and black pepper of life itself are all within me and therefore a part of the body of my music.

If I were to take myself apart like a mechanical toy, and then try to retrieve the main parts from the debris of twisted wire and broken springs, I would at this point store them for possible reassembly in three bags clearly marked 'Home', 'Musicians' and 'Other People'. This is why I have retained these three labels for the reflections in this book. Most of the material has to do with Indian classical musicians and their world which it has been my life's ambition to enter, but there are some accounts of unforgettable people and events outside it as well.

I love and admire the artistes that figure in this book. The eccentricities and frailties I have described do not diminish them in any way. On the contrary, they are intended to enhance the charms of their rich personalities.

As for the events I recount, they are the prisms through which I saw life and the transmitters of the cultural sounds I heard. In recalling them, I find once again the people, voices, and scenes that populate and nurture my spirit and the music within me.

The anecdotes that follow are not arranged chronologically but form a continuous narrative with overlapping threads. These are of different lengths and textures, and frequently break off, giving the whole fabric a random look. But for me that itself is the reality.

CONTENTS
Part I: Here's Someone I'D Like You To Meet
Acknowledgements3
Introduction4
Home
1Number Seven, Civil Lines6
2Persian Couplets and One Green Chilli19
3Baua24
Musicians
4If Music Be the Love of Food38
5Playing for the Flowers49
6Pran Nath: An Odyssey58
7Begum Akhtar to the Rescue87
8Siddheshwari: A Bird of Paradise113
9The Muse and the Truck Drivers 134
Other People
10Mrs Henderson from Ohio152
11The 'Cent per Cent' Gandhian167
12Cat Among the Bureaucrats186
13Mrs G and the Queen of Tonga196
Part II: The Cooking Of Music And Other Essays
Publisher's Note2212
14Sound and Hindustani Music213
15The Raga: An Inward Journey217
16Reflections on the Kirana Legacy224
17The Cooking of Music238
18Fear of Recording: The Non-Westernness of Hindustani Music244
19Sunlight in the Raga252
20Begum Akhtar260
21Go, Lady, Go: Lady Linlithgow and the Taming of Raga Adana268
22A Taste of British Guiana274
23The Many-Splendoured Harmonium281
24The New Face of Listening288
Part III: Afterword
Two Obituaries of Sheila Dhar305

Raga'n Josh (Stories from a Musical Life)

Item Code:
IDI500
Cover:
Paperback
Edition:
2008
Publisher:
Permanent Black
ISBN:
8178242443
Size:
8.5" X 5.5
Pages:
311
Price:
$32.50
Discounted:
$24.38   Shipping Free
You Save:
$8.12 (25%)
Add to Wishlist
Send as e-card
Send as free online greeting card
Raga'n Josh (Stories from a Musical Life)

Verify the characters on the left

From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 7806 times since 5th Dec, 2010
From The Jacket

Sheila Dhar (1929-2001) studied at Hindu College, Delhi, and obtained her MA in English (with the highest distinction: summa cum laude) from Boston University. Though she wrote essays and stores with a skill possessed only be the rarest of raconteurs, the passion of her life was Hindustani classical music, which she performed, studied, and wrote about with profound insight and an uncommon wit. She served on the board of the Sangeet Natak Akademi and was advisor for music to the Indian Council of Cultural Relations.

Marred to the economist P.N. Dhar (who was for many years Indira Gandhi's closest advisor), she also had occasion to observe the workings of India's bureaucracy and political elites. She turned her pen on them with equal facility, summing up the pomposity and stupidity of babudom through incomparable real-life stores that are unlike anything written in modern Indian English.

Sheila Dhar's books include Childern's History of India (1961); This India (1973); and Here's Someone I'd Like You to Meet (1995).

Introduction

If a memoir needs a reason, mine is simply that wonderful things become even more wonderful for me if I can share them a dreadful things more bearable. The delightful and the biter both seem more valid if I can believe that I am not the sole experiencer. Driven by this infirmity, I have over the years compulsively told and retold some of the stories that appear here. They have lived and become old in the minds of my friends. At some point Lalita and Zainub who are closest tome began to ask why I did not write instead of talk.

That was a sobering thought because it implied a wider audience, which might not necessarily be as receptive. Clearly the writing venture called for a different kind of telling. For one thing, the vocal inflections and mimicry I used to rely on to draw character had to gave place to descriptions, of both the people in these tales and of the setting in which they appeared in my life. For another, I had to render each experience from the Indian dialect in which it originally happened into its rough English equivalent. This exercise demanded more concern-tration and effort than relating anecdotes, but the heady feeling that many more companions might now wander into my world was reward enough.

On the whole I felt that in urging me to write, my friends had done me a favour. They had forced me down to a deeper layer of myself. I am a singer and unrolling the pictures in my mind through the written word felt exactly like singing. At any rate it took me to the very place I occupy in my head and heart when I try to express my whole self through the idiom of music. This realization made me ask myself, seriously for the first time, what it is that I am really saying when I sing. I knew from the accumulated lore of a lifetime in music that a conscious switching off of everything one has learnt is a necessary prerequisite for a genuine musical performance. For me the act of singing ideally means recognizing and intensifying my own identity, and communicating it in the rigorous traditional idiom of an ancient musical language. This ideal is not always achieved, but when It is, my musical utterance inalienably carries within it the flavour of everything that has ever happened to me, and of all the emotional landscapes I have traversed. The feel of my grandfather's beard, the smell of the dank basement in our childhood home, the aroma of my Ustad's cooking, the sense of wonder I experienced at the pristine innocence of the Queen of Tonga, the sound of Siddheshwari's very musical but hearty belly laughs, the unbelievable simplicity behind Mohan Rao's eccentricities, the despair and the delight, the green Chillies and black pepper of life itself are all within me and therefore a part of the body of my music.

If I were to take myself apart like a mechanical toy, and then try to retrieve the main parts from the debris of twisted wire and broken springs, I would at this point store them for possible reassembly in three bags clearly marked 'Home', 'Musicians' and 'Other People'. This is why I have retained these three labels for the reflections in this book. Most of the material has to do with Indian classical musicians and their world which it has been my life's ambition to enter, but there are some accounts of unforgettable people and events outside it as well.

I love and admire the artistes that figure in this book. The eccentricities and frailties I have described do not diminish them in any way. On the contrary, they are intended to enhance the charms of their rich personalities.

As for the events I recount, they are the prisms through which I saw life and the transmitters of the cultural sounds I heard. In recalling them, I find once again the people, voices, and scenes that populate and nurture my spirit and the music within me.

The anecdotes that follow are not arranged chronologically but form a continuous narrative with overlapping threads. These are of different lengths and textures, and frequently break off, giving the whole fabric a random look. But for me that itself is the reality.

CONTENTS
Part I: Here's Someone I'D Like You To Meet
Acknowledgements3
Introduction4
Home
1Number Seven, Civil Lines6
2Persian Couplets and One Green Chilli19
3Baua24
Musicians
4If Music Be the Love of Food38
5Playing for the Flowers49
6Pran Nath: An Odyssey58
7Begum Akhtar to the Rescue87
8Siddheshwari: A Bird of Paradise113
9The Muse and the Truck Drivers 134
Other People
10Mrs Henderson from Ohio152
11The 'Cent per Cent' Gandhian167
12Cat Among the Bureaucrats186
13Mrs G and the Queen of Tonga196
Part II: The Cooking Of Music And Other Essays
Publisher's Note2212
14Sound and Hindustani Music213
15The Raga: An Inward Journey217
16Reflections on the Kirana Legacy224
17The Cooking of Music238
18Fear of Recording: The Non-Westernness of Hindustani Music244
19Sunlight in the Raga252
20Begum Akhtar260
21Go, Lady, Go: Lady Linlithgow and the Taming of Raga Adana268
22A Taste of British Guiana274
23The Many-Splendoured Harmonium281
24The New Face of Listening288
Part III: Afterword
Two Obituaries of Sheila Dhar305
Post a Comment
 
Post Review
Post a Query
For privacy concerns, please view our Privacy Policy

Testimonials

I am forced to believe this us scam due to their lack of support and response to emails sent to inquiry. I had ordered a product a month back and had also paid for expedited delivery via paypal. I have still not received my product, neither do they have the courtesy to respond to the serval emails and calls. I will never purchase anything from this website, want a refund and think this is a scam.
SHRUTHI
Thank you for allowing me to shop in India from my desk in the United States!! I love your website! Om Shanthi
Florence Ambika, USA
I finally got my nearly $300 Meenakari earrings today. They were promised in 4-6 days but it took a week for them to be shipped. Then it was 4-6 days. When I saw them I had mixed feelings. They are cute but it took me a half hour to get them in my ears as the posts are really large in diameter. I had to use vaseline and force them through and then the screw on backs (a good thing) wouldn't line up. There seems to be something inside the screw on locks that act as a securing agent. Any way most of the things I've got from ExoticIndia were gifts and acceptable.
Beverly, USA
'My' Ganesha-pendant arrived ! Thank you a lot-it's really very lovely ! Greetings from Germany.
Birgit Kukmann
I got the parcel today, and I am very happy about it! a true Bible of Subhashitam! Thanks again a lot.
Eva, France
I have been your customer for many years and everything has always been A++++++++++++ quality.
Delia, USA
I am your customer for many years. I love your products. Thanks for sending high quality products.
Nata, USA
I have been a customer for many years due to the quality products and service.
Mr. Hartley, UK.
Got the package on 9th Nov. I have to say it was one of the excellent packaging I have seen, worth my money I paid. And the books where all in best new conditions as they can be.
Nabahat, Bikaner
Whatever we bought from Exotic India has been wonderful. Excellent transaction,very reasonable price excellent delivery. We bought so many huge statues, clothes, decorative items, jewels etc. Every item was packed with love.
Tom and Roma Florida USA
TRUSTe online privacy certification
Language:
Currency:
All rights reserved. Copyright 2016 © Exotic India