My Spiritual Journeys

I grew up in a non-religious family. However, I have always been interested in spirituality. This post is about the meaning of spirituality for me and some of my more significant spiritual experiences.

By "spirituality" I mean the ideas about the nature of soul, consciousness and reality. For me, spiritual experiences are usually related to reading, meditating, listening to music, watching stars and being in nature. They induce in me feelings of being connected with others and with the universe, as well as, feelings of peace and joy.

The Spiritual Gurus

The Indic traditions place a lot of emphasis on the role of a Guru, a spiritual teacher. For me, my spiritual teachers are the books and my favourite spiritual readings are the Upanishads of Hinduism.

It was in 1968, when I had first met Mahesh Yogi, during the days when the Beatles were visiting him. Suddenly he had become The Guru for the world's famous. I had liked his smile and his explanations about transcendental meditation.

During the 1970s-80s, I had become very interested in reading the books of Acharya Rajneesh (Osho). 

Finally, during the early 2000s, I had visited the ashram of Sree Sree Ravishanker near Bangalore and then in 2015, I had gone to listen to him when he had visited Guwahati.

However, so far I have had no desire to follow any Guru. Perhaps, it means that I don't need a Guru, or, may be it means that I am not yet ready for a Guru.

Instead, about 40 years ago, I was fortunate to meet Don Silvio Favrin, a Catholic priest from Castel Franco V. in the north-east of Italy. He died earlier this year (April 2022). He was a friend for me, and at the same time, he was a great spiritual being - some of our conversations had a deep influence on me. He had the capacity to share the most profound ideas in simple words, often tinged with irony along with an ability to laugh at himself.

Unexpected Spiritual Interactions

Many of my memorable spiritual interactions with people have been unexpected. For example, during 2014-16, while I lived in Guwahati, I had a couple of spiritual experiences.

The Sadhu in the Forest: The first encounter was in the forest behind the Bashishtha temple, where I had come across a Sadhu, who had built his home beneath a rocky overhang. He told me about his wanderings across India. I asked him why he had chosen that particular place to set up his home and he started talking about the subtle energy that comes out of the earth and how he felt that energy in that rock.

"Put your hand in this place", he pointed to the rock, "then close your eyes and try to feel the energy." I tried but did not feel anything. So, he said that I needed to quieten my mind, then may be I will be able to feel that energy.

He was a simple person but listening to him talk about the universe and our connection with nature was a wonderful experience.

Ambubashi in Kamakhaya: Another intense spiritual experience for me was during the Ambubashi festival at the Kamakhya temple. Kamakhya is a Shaktipeeth, it celebrates the feminine principle of the nature and the Ambubashi festival celebrates the metaphysical mentruation of the mother-godess.

In a courtyard on the hill near the temple, I came across a group of Baul singers. Some of them were smoking cannabis. Others were dancing and singing Baul songs. At a certain point, a thin old man stood up, his eyes closed in an ecstatic trance, a box in the right hand and a bottle of talcum powder in the other, and he started dancing. It was one of the most amazing and emotionally touching spiritual experience that I have ever had.

The Mendicant in Orchha: I was staying with a family in a village just outside Orchha in Madhya Pradesh. A local NGO had organised my stay. One morning, I was walking towards Sundar Mahal, the dargah of a Sufi saint called Sundar Shah, when I met a poor mendicant, who was sitting on the ground.

I stopped to talk to him. He had left home due to some mistreatment by his daughter-in-law and had decided to wander around and to live on charity. We talked about his preivious life, his home and children, and his present life as a wandering mendicant. I felt very sorry about his plight that in his old age, instead of sitting and resting, he was forced to go around, ask for alms and never be sure if he will find a place to rest for the night.

"So, what do you wish for, what do you want now?", I asked him. He smiled and shook his head, "Nothing, I have found everything I need", he answered.

To remember that meeting and his words, can still make me emotional. As you can see, what I think of as "spiritual" experiences can be very different things.

The Spiritual Places & Broken Statues

I have been to a lot of pilgrimage places of different religions in different countries. I am not religious and I do not go anywhere to pray. However, I like to visit the religious places in search of spiritual experiences.

In India, I have travelled widely, from the Vivekanand rock in Kanyakumari to the Kumbh mela in Prayagraj. There have been many beautiful moments and it is always fulfilling to see the beauty in temples, mosques and churches.

Yet, when I think of my unforgettable spiritual moments, they are usually not associated with any of these places. However, I love the Hindu idea of creating statues out of mud for specific festivals and at the end, immerging those statues in the sea or a rivers. The divinity is thus an expression of nature, which goes back to nature. I love the sight of old broken statues left near the rivers.

While travelling in Assam, it was common to find statues of Durga, Kali and Saraswati left near the rivers and invariably, I used to stop to look at them.

One evening, I was walking along the Kolong river in Nagaon and I came across an old broken statue of Saraswati lit by the rays of the setting sun. For a moment, I felt as if the Goddess was speaking to me. That experience was so powerful that for about another 10 minutes or so, as I walked, it seemed as if everything was lit by an internal light.

Music and Spiritual Experiences

One of the most profound spiritual experiences which I can remember was in Mandya in Karnataka, when I was staying with some Catholic nuns in a convent. One early morning, I listened to them gently singing hymns in a small chapel. The rise and fall of their voices was like the tide of an ocean, washing over me like waves, a truly wonderful spiritual experience.

Once, I was visiting a project in West Bank in Palestine and I was staying with some friends. I usually wake up early in the morning. I remember waking up in his guest room, listening to the sound of azaan coming from different mosques. They were not synchronous, the timber of their voices were different and together it created a wonderful spiritual experience.

Another occasion when music touched me deeply was in Bologna in Italy during a dance recital. Alessandra Pizza, the Bharatnatyam teacher, was singing a Ganapati prayer accompanied by the rhythmic beating of a gong on a wooden block. We were sitting in a gallery, under a high dome so that her voice had a little echo. It was so amazing that it brought tears to my eyes.

I also love listening to the singing of Gurubani in the Sikh gurudwaras. Often the Raagi (singers) in the gurudwaras are trained classical singers and their prayers have simple and yet profound words, that I find very moving.

As an adolescent and young man, some of my musical-spiritual experiences were listening to famous classical singers like Bhimsen Joshi, Pandit Jasraj, Kumar Gandharv and Kishori Amonkar. For example, even today listening to "Ud jayega hans akela" (The swan alone will fly away) by Kumar Gandharv can touch me deep inside.

Finally, some years ago, during a music concert in Bologna (Italy), Ms. Ashwini Bhide Deshpande sang my favourite bhajan "Ganpati Vighnaharan Gajanan" on my request. The acoustics of that place were wonderful and I felt surrounded by her voice. Just thinking about that experience makes me feel a great joy.

In the End

Writing this blogpost has been a wonderful experience. I wrote it originally for my Italian blog and then decided to translate parts of that into English. When I had started writing it, I had a completely different idea in my mind. However, as I started writing, a lot of forgotten memories came up in my mind and this post has gone in an unexpected direction.

Re-reading it, I can see that it is very much linked with India and Hinduism, which is natural since I grew up surrounded by these ideas. A person growing up in another culture and other religious traditions would have other kinds of spiritual experiences.

I hope that reading it would make you think about the meaning of spirituality for you and remind you of your own spiritual experiences.

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Butterfly Cho Cho San's tragic love story

Puccini's opera Madama Butterfly is among my favourites. It is the tragic story of a young Japanese girl's love for an American marine.

Recently I went to see a show about this opera. It was a multi-medial show by the Italian musicologist Fabio Sartorelli. It had stories, piano performances of music from the opera, old video-footage and live performance of some scenes by three young actors.

This post is about this show organised by Elia Dalla Costa cultural centre and held at the Civic Theater of Schio (VI, Italy).

Giacomo Puccini's Madama Butterfly

"Madama Butterfly" was based on a French novel written by Pierre Loti in 1887. The opera was written by Italian writer and musician Giacomo Puccini around the turn of 19th century. It premiered as a two-act opera in 1904 in Milan but was heavily criticised. Later that year, Puccini rewrote it as a three-act opera, which became successful.

Operas are the theater of emotions in songs. The tone and the timbre of the voices of singer-actors such as tenor, soprano and mezzo soprano, determines their roles. Operas are a part of the Western classical music tradition.

This opera was based in the 19th century Japan. After centuries of isolation, Japan had opened to the west in 1854. As Western ships started arriving in Japan, their marines wanted the "women of pleasure", but Japan did not allow prostitution. So the women were sold as "temporary wives" to those marines.

Opera's heroine Cho Cho (Butterfly) is a 15 year old girl who becomes the temporary wife of an American marine called Pinkerton. She is naive and falls in love with the man she thinks is her husband. A month later, Pinkerton goes back to America telling Cho Cho that he will be back soon. Cho Cho gives birth to a boy and waits for her "husband". Finally after 3 years, Pinkerton returns but is accompanied by his American wife. Cho Cho commits suicide to facilitate that her son can go to America with his father.

This theme has been adapted also in innumerable Bollywood films such as "Ram Teri Ganga Maili", in which young innocent girls from villages or mountains fall for slick city guys.

Fabio Sartorelli

Fabio Sartorelli is a musicologist from Bologna university and had studied piano at Milan conservatory. He teaches at Como conservatory and Academy of Scala theater of Milan. He also gives talks and performances related to the lives, works and performances of music artists like Bach, Haydn, Mozart, Puccini, Stravinskij and Verdi.

Sartorelli's show

The show touched on Puccini's opera from different angles - from the ideas of racism and colonialism that form the context of the opera, to Giacomo Puccini as a person, and from the different versions of the story of Madam Butterfly written by other authors, to the emotional culmination of the opera when Cho Cho San commits suicide.

Sartorelli explained that in the initial version of the opera, Pinkerton did not appear in the final act and did not show any remorse about what had happened to Butterfly. No tenor wanted to play Pinkerton's role and the opera was heavily criticised. Thus Puccini changed this part of the opera.

The opera was written in a period when there was great public interest in the mysterious Japan that had opened its doors to the foreigners after many centuries. The earlier books about this story, not knowing how the Japanese people talked, had used the American black slaves as a model for expressing them linguistically.

On one hand, the opera showed Cho Cho as a Christian convert, which might have made it easier for the western audience to identify with her fate as an unfortunate woman. On another, the "woman" was actually a 15 year old child, also because in that epoch, exploitation of minors was not seen in the way we look at it today.

The show also touched on Puccini as a person, such as his love for cars, his travels to America, his fame in that country, and his money-making from advertising for pens and mouth-washes.

Three young actors from Piccolo Teatro of Milan (Francesca, Niccolo and Carlo) performed some scenes from the opera.

Sartorelli is an able communicator and a good piano player. He understands the stage, how to raise the tension and how to make people laugh. Though some of the issues touched upon in the show were serious - such as racism and the misrepresentation of cultures, Sartorelli treated them lightly, with wit and irony.

I loved the whole show and Sartorelli's skill in putting together so many different ways of looking at and understanding the opera, its history and the stories of persons linked with it.

Conclusions

For me a key reflection from this show was that we can look at the famous creative maestros like Giacomo Puccini in critical ways - to see them not as mythical figures but as human beings, with their weaknesses and warts, without diminishing in any way the recognition of their genius in creating amazing works of art.

It is also important to remember the context of those times when we criticise many of its specific aspects. Such an opera, if written today, would very likely be booed and forced to close down by protesters. For example, for much less, in recent times writers have been accused of cultural appropriation and made to pay a heavy price.

Loving operas written hundred or more years ago means learning to look at those artistic works from different angles and yet continue to be touched and moved by them.

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Dancing in Assam

Assam in the north-east of India has a rich tradition of dance, music and theatre. This photo-essay presents some of the classical and folk traditions of Assam.

People of Assam 

Assamese people are a mixture of different races and ethnicities. Over the centuries, people from central and north India, from the Tibetan plateau, from the neighbouring areas of China, Myanmar and Bangladesh, have all contributed to Assamese people and cultures.

Ahoms, who came from the neighbouring Myanmar in the 12th century and ruled Assam for almost eight hundred years, have been a strong influence. Neighbouring Bengal and Odisha, have also been an important influence.

Assam also has different indigenous groups such as Bodo, Mising, Deori, Rabha, Tiwa, Lalung, Khamti, Sonowal, Karbi, Naga, Dimasa and Singpo. It also has tribes from central India who were brought to Assam by the British during the past hundred and fifty years to work in the tea gardens (tea tribes).

All these different groups of people bring their cultures to Assam and thus contribute to the richness of the Assamese dance, music and theatre traditions.

Traditional Dance, Music and Theatre

Traditional performing arts of Assam are of two kinds - folk traditions and classical traditions.

Folk traditions are based in rural communities and are orally transmitted between the generations. Only over the past decades, written materials about some folk traditions have been developed.

Folk theatre can be on different themes - religious, satires related to daily lives, romantic stories and historical figures. Assam has different folk theatre traditions focusing on religious themes such as Ojapali, Kamrupia Dhulia, Putula Nach, etc. Another area of religious folk theatre is Jatra, which also has many variations in Assam such as Manai Jatra and Bhasan Jatra. Finally, there are dramatic theatre traditions that can be religious or non-religious, such as Paseti and Mothoni.

Classical traditions of Assam are strongly influenced by the Vaishnavaite teachings of Shrimanta Shankar Dev and his disciple Madhabdev in the 16th -17th centuries. Religious centres called Sattra established by the followers of Shankar Dev have developed cultural traditions. These revolve around the texts of Padma Purana and other Hindu scriptures. Classical traditions are governed by codified norms. These include Bhaona theatre, Gayan-Bayan singing traditions and Sattriya dance.

Traditional dances and theatre are accompanied by different musical instruments such as cymbals (Kartal, Khutital, Bhortal), anklets, drums (Joidhol, Deodhol, Nagara, Bordhol, Mridanga, Khol), flutes (Kali, Benu, Bonsi) and cord-instruments (Lautukari, Benu, Aktara).

During 20th century, Bhupen Hazarika, a multi-faceted Assamese artist with interests in folk music, dance and theatre, has been a significant influence in Assam, leading to a renaissance of the traditional art forms.

Classical Music, Dance and Theatre of Assam

Majuli island in Brahmaputra, not far from Jorhat, has the most important Sattra that carry forward the legacy of Shrimanta Shankar Dev.

The image below presents a scene from Ramayana from a Bhaona performance of a group from Majuli, showing princess Sita. All the female roles in Bhaona are usually played by men.

Popular folk theatre also uses masks in performances. The next image has a Krishna Putula for a theatre performance, created by master craftsman Debkanta Mahanta.

The next image presents Gayan-Bayan, the singing and story-telling tradition from a sattra in Majuli. These are sung by male monks from the Sattra and are accompanied by percussion drums (dhol) and medium size cymbals. During the singing there are also dancing movements using the drums.

The third image presents a Sattriya dance performance by Ms Shrutimala Medhi of Guwahati. Often the Sattriya dance is used to tell a story about Krishna and are like one-act plays (Ankiya Nat). However, the dance can also be abstract. The movements of hands (mudra) and feet (pada), as well as the different body postures must follow the codified dance norms.

The next image has a group of Cymbal dancers, a kind of Sattriya dance, where the dancers use medium size cymbals during their dance.

Traditional Dance and Theatre linked with Bihu

Bihu festivals linked with agricultural life are the most popular cultural events of Assam. There are three Bihu festivals – Rongali Bihu, Kongali Bihu and Bhogali Bihu. Bihu folk dance is the most popular dance of Assam.

During this dance, men are responsible for singing, music and dance. The music instruments used in the dance include cymbols, dhols (drums) and pepa. The men wear dhoti and gamocha. The women wear mekhla-chador dresses and one of their characteristic dance movement is that of bending slightly forward with hands on their backs, as shown in the next image.

Folk Music, Dance and Theatre of Assam

The first image has boys in the traditional dress of Dimasa (children of the river) tribe who are part of Kachari people. Their mythological stories are about Bangla raja (earthquake god) and a divine bird called Arikhidima.

This group was from Dima Hasao (sometimes called Hsiao) district of Assam. Their drum is called Khram.

The next image has dancing young women from the Mising (also called Mishing) tribe. This is one of the bigger tribes of Assam, spread over different districts. This dance is called Lotta Sohman and is accompanied by folk songs called Oi Nitom.

Karbi tribe is one of the larger groups of persons in Assam. This tribe lives in the hills across different districts. The next image has a martial dance called Chong Kedam performed by the men and women of Karbi tribe who carry swords and shields.

It is said that the Karbi tribe is originally from China and this dance is about their southwards journey when they came to Assam. During the dance, the male dancers show vigorous exercises.

The next image is also about the Karbi tribe and shows the young men in the Nemso Kerung dance. This dance is part of Chomonkan ceremony related to a funeral of elderly persons in the family.

Assam is also home to some Naga tribes. Next image has a group of Naga dancers from the Karbi Anglong district. Naga dresses have a dominance of black and red colours.

Assam has a significant number of Muslims and traditional Axamia Muslim communities are culturally integrated in mainstream. Zikra is the specific traditional music form linked with the Axamia Muslims, shown in the next image.

The Next image is about the Popular Theatre of Assam – from the play Sati Bahula directed by Lakhendra Gunnakar Goswami.

Assam shares the tradition of wandering singing mistrals called Bauls with neighbouring Bengal. Bauls are often travellers who carry their songs of devotion to the rural areas. Though close to Hindu ascetics, they also include persons from the Muslim Sufi tradition. The last image of this post has a woman Baul singer during the Ambubashi festival at Kamakhaya temple in Guwahati.

Conclusions

This is just a brief glimpse into the rich traditional dance, theatre and music heritage of Assam in the north-east of India. I lived for about a year and half in Guwahati, the capital of Assam, during 2015-16. This was a great opportunity to know and appreciate some of those traditions.

References: Folk Theatre of Assam, by Gitali Saikia & Sanjib Luchan Tamuli, Jansanyog, Directorate of Information and Public Relations, Assam, India

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An Unexpected Musical Evening In Guwahati

Last saturday night (12 September), unexpectedly, I found myself at an amazing music concert of retro classical rock. This post is about the unplanned musical surprises of the rich cultural life of Guwahati (Assam, India)

The picture above has Danius Marak, the lead singer of Adam's Apple, from that music concert. Adam's Apple is a rock music group from Darjeeling (West Bengal, India) that had won the Hornbill Rock Music festival in Nagaland in 2014.

WONDERING ABOUT SRIMANTA SHANKAR DEV & BISWAKARMA

Let me start by explaining how I found myself at the rock music concert.

I knew that  2 important dates related to one of the most important cultural and religious icon of Assam, Srimanta Shankar Dev are close - 15th is his birth anniversary and on 23th, his death anniversary. In addition, on 18 September, there will be Biswakarma Puja, an important day in the religious calendar of the north-east. I wanted to know if any special events were planned at Kalakshetra, one of the most important cultural hubs of Guwahati.

Though it was a day of Assam Bandh (strike), Kalakshetra was open. The person at the ticket office was very helpful. He told me that no cultural events were planned in Kalakshetra in this period and next big cultural event would be in October 2015 during the Durga Puja festivities. On my way back, on an impulse I decided to go and visit Shilpagram, that is located close to Kalakshetra.

SHILPAGRAM CRAFTS VILLAGE

Shilpagram (literally "Village of crafts") is on Aurobindo path, just before Kalakshetra. Apart from Shilpagram, on the same road there are the Assam Film Museum, the state music school and the Guwahati Aurobindo centre. The film museum did not seem to be functioning and its gate was locked. Saturday was also the weekly closure day for Aurobindo centre. However, Shilpagram was open and no ticket was required for entering on that evening.

"At 6 PM, there is some music festival", the guard outside Shilpagram had told me. It was only 4.30 PM, and my first reaction was that I did not want to wait there till 6 PM for the music programme.

So I entered thinking that I would quickly visit and see what kind of things were there. It is used as a venue for holding handicrafts fairs and exhibitions. Since no fair or exhibition were going on yesterday, there was not much to see except for some buildings representing a few tribes.

These buildings were decorated in traditional ways, but they were all closed and empty. In one garden, a statue of someone was placed under a tree but I had no idea of who he was.

RETRO CLASSIC ROCK MUSIC CONCERT

The sound of music was coming from the park at the centre of Shilpagram where a stage had been set-up. A young guy was sleeping there on a plastic sheet next to the stage, in spite of the loud vibrating sound of drums and guitars.

It reminded me of my early days in India, when I could sleep in the middle of noise, lights, chaos and confusion, and not like now, when the slightest thing wakes me up or keeps me awake!

On the stage, a group from Diphu called the "Celestial Sphere" was rehearsing. Their vocalist had a nice voice. Behind them, a banner showed the name of the event - a "Retroactive Classic Rock Revival" music concert sponsored by Cafe Hendrix of Guwahati.

I listened to Celestial Sphere for some time and then decided to visit a few handicrafts shops around the park.

SWARAJ KANTI SORCAR'S BHAJANS

In one handicraft shop of Shilpagram I met Mr. Swaraj Kanti Sorcar, who had an Assamese prayer book open before him and was slowly singing a hymn. His voice attracted me and I stopped there to listen to him.

"What are you singing? Your voice is very nice", I told him when he finished the hymn.

"My voice was much better when I was younger", he said proudly and brought out a drum with a cord. He sang me another of his prayer songs for me, this time accompanied with music from his drum and the tinkles of small brass bells fixed to the end of a cord that stretched between the drum and his fingers. It was a song about Krishna, though I could not understand all the words. And it was amazing listening to him.

That drum with stretched cord is called Bagoli (since it is held in the underarm or "Bagol") or Khamen.

I was reminded of some Baul singers that I had heard at Kamakhaya temple during Ambubashi festival. Simple songs and music, and a voice filled with emotions that go straight to the heart.

After his songs, I sat with him for some time, listening to his stories about his life. Meeting Mr Sorcar warmed my heart. While we were talking, some other group had come to do the rehearsal on the stage. Sounds of their music filled the whole place. It was a throbbing and pulsating sound, while the lead singer had a raw voice. I said good bye to Mr Sorcar, as I wanted to check this group.

They were "Adam's Apple" from Darjeeling. I loved their music and decided that I wanted to stay there and to listen to them properly during the concert.

BEAUTIFUL EVENING SKY AND THE SCHOOL GIRLS

There was still more than half an hour for the start of the concert. The sky covered with clouds had turned first orange and then red. There were not many persons there to listen to the music concert.

I decided to take another walk around Shilpagram. In one corner I came across a group of high school girls, all dressed up. They had just had their cultural function in the auditorium and were now waiting for refreshments.

They were happy to pose for me for some pictures, proud to show off their beautiful costumes.

2 SQUARES

The concert was started by a group called 2 Squares from Guwahati. Their lead vocalist Gregory Sarma sang beautifully and with wonderful energy. The guitarist and the guy on drums were great. In some ways Sarma's performance reminded me of Robbie Williams.

Among the groups that I had watched that evening, I liked this group most. (I am not sure if I am doing any favour to this group by writing it since rock groups having white-haired elderly persons as their admirers do not sound very exciting!)

I did not know any of the songs they did, probably they were not retro enough for me, but it was difficult to stand still during this part of the concert.

I am really surprised that this group does not have its own page on Google Plus or Facebook. Gregory Sarma has been part of some popular groups like Nakshatra, Faith and the Beat Route. He came back to Guwahati earlier this year and has started this new group, 2 Square. Anyway I am sure that they are going to get a good fan following.

S.K.D.

The lead vocalist of this group is one of the historical figures of rock music in Guwahati, active for the last 30 years. They had a female co-vocalist, a girl with a nice warm voice. They sang more retro songs including “Run to me” by Bryan Adams, that I could identify.

Even the SKD does not seem to have a Facebook page or a website. I searched on internet, but I have been unable to find the names of the components of this group.

ECLIPSE

Eclipse is another all-guys group. It is a historical group from Guwahati that was started in 2004. Its members are Kundal Goswami (Vocals) Rahul Kaushik (Bass) Sumit Baruah (Guitar) Rakesh Baro (Keyboard) Mrinmoy Edwin Singha (Drums).

They are going to come out with a second CD soon and they sang two unreleased songs from this new album titled "Clandestine Resurrection". Their first album had a very poetic name, "A mouthful of moonlight".

Their music is good, Kundal their lead vocalist, and the musicians are great and the group has a good energy. In my personal classification, they were number two in this evening’s groups.

All their songs were great but I enjoyed most their version of the retro number of the Queen, “I want to be free”, because it made me relive my young days.

CELESTIAL SPHERE

Celestial Sphere group is from Diphu in Korbi Anglong. From the reaction of the audience this seemed to be a very popular group. The members of this group are: Thengchum on Guitar, Lumar on Guitar, Edwardo on the Bass Guitar,  Bendang Toshi on Drums while Dr Aleena Terangpai is the vocalist. This group is considered as among the top 50 emerging rock groups in India.

Aleena, their vocalist has a good voice and the guitarists were great. By the time the Celestial Sphere came, I was wondering if any of the groups would have anything in terms of fusion music? I feel that it is great to sing retro songs from US/UK singers but if you are a north-east group, it would be nice if occasionally you also add to your music something that represents your own culture and music, to root it to this land and moment.

Celestial Sphere must have heard my wish, so they had one Korbi Anglong song in their repertoire. Its refrain sounded like “Say, say”. You can hear this song on their Sennheiser profile page.

ADAM'S APPLES

Like I wrote earlier, Adam's Apple are the winners of Hornbill festival 2014. The members of this young group from Darjeeling are: Danius Marak (vocalist), Praggya Lama (Guitar), Sawan Chettri (Bass), Anil Pradhan (Keyboards) and Ushang Bomzom (Drums, battery) - BTW, I think that Bomzom is a wonderful name for someone who likes to play drums! Danius is the new vocalist for this group I was told.

It was the music of this group that had hooked me and made me stay there to listen to this music concert. However by the time they came, I had a slight headache and my hips and knees were hurting, so I was wondering if it was time for me to start my walk for going home.

Danius, the lead vocalist of this group looked like a teenage Mick Jagger of the Rolling Stones. The two guitarists, Praggya and Sawan, also looked very charismatic. The sound of their first song started with a raw energy-filled scream. However, something happened to the electrical system and the group was suddenly soundless.

They smiled and waited patiently while the problem was resolved. They restarted and once again, not even one minute into their song, the electrical system failed again.

I thought that it was kind of a divine sign for me to leave. I still had to do a three km walk to my home, and I had no idea what to do for my dinner. So reluctantly, I left the music concert.

CONCLUSIONS

The whole evening was a wonderful experience, probably because it was so unexpected. From the event poster, I have seen that there were 2 more groups in the programme after Adam’s Apple – Still Waters from Gangtok and Spreading Roots from Guwahati. I am sorry that I missed them.

I had never been to a proper rock music concert before. Before this experience, if anybody had asked me, I would have said that I don’t like rock music concerts, that they are just too loud and noisy for me. This concert was indeed noisy and loud. Yet I discovered that I enjoyed it. That the strumming of electrical guitar and bass can give me a high. That the raw screams make my feet feel like dancing.

This experience also made me aware that I am a photography-junkie. I loved the music and the collective experience of being part of a group that is swaying to music. But I loved even more, looking through the lens of my camera and framing pictures of the concert. People who were there as parts of the groups, if you wish to receive your pictures in high resolution (obviously free of cost) do let know - it will be a pleasure and an honour.

Compared to the quality of the groups, and considering that it was a free entry event, I think that the audience there was very limited. This concert certainly merited a much larger group of people in the audience. I hope that next time, they will publicise such events better.

I think that some of the pictures that I have clicked in this are wonderful, many are a little blurred and abstract, almost like poetry.

Let me close this post with another beautiful picture of this memorable unexpected musical evening from Guwahati. This picture was taken while we were waiting for he concert to start and the sky had started to turn red.

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Note: A few days after writing this post, the hard-disk of my computer, where I had downloaded the pictures of that evening, broke and I lost all the beautiful images of that evening. The images used in this post are the only ones that remained for me to remember that evening.