saturday 8th march

5 pm “The Idiots Guide to Indian Culture” – consisting of

1. A short introduction by Prof. Bharat Gupt   (15 minutes)

2. An audio presentation of the Sacred Sounds of Islam (azaan), Buddhism (om mane padme hum) , Sikhism (ek onkar)  and Hinduism (gayatri mantra) (15 minutes)

3. A musical exposition of 4 forms of Indian music (classical -khayal, semi classical - thumri, devotional - bhajan,  bollywood - film song ) by Priya Kanungo  ( 30 minutes)

4. A Q&A with Prof Gupt, Priya Kanungo and Robinson.  (30 minutes)


The culture of India, unlike any other culture reflects a distinct continuity of values and ideas developed over its 5000 year history. Beginning with the Vedas and Upanishads, through Jain and Buddhist philosophies and all its 9 religions and 16 official languages, along with the concepts of satya, dharma, karma, rebirth, and ahimsa, social and material sciences, aesthetics, theatre, dance, crafts and the glorious cuisines of various regions have had a profound impact across the world.

Prof. Gupt talks very briefly about the important ideas in its philosophy and compares it to the ancient Greek culture that was very roughly contemporaneous.

Bharat Gupt, is a classicist, theatre theorist, sitar and surbahar player, musicologist, cultural analyst, and newspaper columnist. He is trained in both, Western and traditional Indian educational systems. He studied classical Greek theatre and has lectured extensively at Universities in India, North America, Europe, and Greece. His published books include: Dramatic Concepts Greek and Indian (1994), Natyasastra, Chapter 28: Ancient Scales of Indian Music (1996), Twelve Greek Poems into Hindi (2001), India: A Cultural Decline or Revival? (2008).


Priya Kanungo trained under Pandit Amarnath of the Indore Gharana, following which she briefly received musical guidance from Shrimati Shubha Mudgal. For many years after that, she was a disciple of Pandit Deepak Chatterjee, and currently, her gurus are the celebrated duo, Pandits Rajan and Sajan Misra of the Banaras Gharana.   

She has an M.A., M.Phil, and Ph.D in Hindustani Vocal Music from Delhi University and  has been awarded the National Talent Scholarship by the Ministry of Culture. She taught an introductory course in Hindustani Music at Yale University, USA. 

Robinson is a Theologian, Meditation Practitioner and a Poet. He has an advanced certificate in Bible Studies and papers on comparative religion. He is currently researching on the mystical and meditative aspects in various religious traditions. He has published “Reminiscences: The Poetry of Communion”. His book ‘Christianity; An Indian Theological Perspective’ awaits publication. Robinson also conducts walks to Churches, Dargahs, Temples and Gurudwaras as well as interesting historical sites, bazaars and street foods of Delhi.

For this evening he is willing to answer questions on any aspect of Indian history, regional and street foods, the art of travelling in India and the explosive growth of Christian sects in India.


 monday 10th to saturday 15th march
daily 10.30 am to 12.30 pm

T’ai Chi, Chi Kung and self-defense workshop (FOR WOMEN ONLY) conducted by Rodrigo Antonio Uribe

T'ai chi ch'uan is an internal Chinese martial art practised for both its defence training and its health benefits. The concept of the taiji  appears in both Taoist and Confucian Chinese philosophy, where it represents the fusion of Yin and

Yang into a single ultimate, represented by the taijitu symbol.

The study of t'ai chi primarily involves three aspects:

•        Health: Its training concentrates on relieving the physical effects of stress on the body and mind.

•        Meditation: The focus and calmness cultivated by the meditative aspect of t'ai chi is seen as necessary in maintaining optimum health.

•        Martial art: The ability to use t'ai chi as a form of self-defense in combat  is the study of appropriate change in response to outside forces, the study of yielding to an incoming attack rather than attempting to meet it with opposing force. 

Qigong or chi kung, is a practice of aligning breath, movement, and awareness for exercise, healing, and meditation. With roots in Chinese medicine, martial arts, and philosophy, qigong is traditionally viewed as a practice to cultivate and balance qi (chi) or what has been translated as "intrinsic life energy".

 Qigong exercises have three components: a posture (moving or stationary), breathing techniques and mental focus on guiding chi through the body. They are considered to be both exercise and a type of alternative medicine  

In this basic 6 day course participants will learn 24 movements in 3 directions of Tai Chi, 6 basic positions of Chi kung and ‘8 grips’ in the self defense techniques of  how to defend against a person holding you from the back or front.  

Rodrigo  learnt Tai Chi at the center for Oriental Studies in Colombia and started teaching 11 years ago. He practices and teaches the simplified form of tai chi. He will focus primarily on posture, relaxation and  how to concentrate the chi and the martial arts applications of Tai Chi, also incorporating martial art moves from Aikido and Kung Fu.  

Participation by Registration only. Call or email. 2374 6050 

Charges Rs. 5000

Cash or Cheques payable to Amarjit Bhagwant Singh Charitable Trust

Last date for registration wednesday 5th march 2014.

Maximum 10  participants only.


CLAY AT THE ATTIC 3 The Gang of Nine

Opening: Saturday 22 march 2014 at 6.30 pm
Exhibition from Monday 24th – Saturday 29th march from 11 am to 7 pm


Veena Chandran

A brief tryst with clay in my initial years as a practicing architect fuelled a desire to master the art of ceramic pottery. Under the tutelage of Ray Meeker and Deborah Smith, I learnt and honed the art and gave shape to the ideas in my head.

My formal training in architecture adds character to my work and discipline to the forms I envisage as a ceramic artist. My work reflects a combination of these two worlds  – lines, shapes, planes and surfaces find a whole new meaning, when combined with the uncontrolled effects of wood, fire and ash.

Clay work has taken me to Tasmania and Australia and continues to enrich my life.

The scale and form of my jar series has come about while exploring the plasticity of clay. Slabs of heavily gorged clay were stretched and pressed into a plaster mould of a large thrown form, then partially covered with a shino glaze or left completely unglazed and wood-fired in an Anagama kiln.

Veena is Bachelor of Architecture, from Pune University and has trained in ceramics at Golden Bridge Pottery, using wood and Anagama firings.  She set up her ceramic studio “Farishtey” and is a visiting lecturer, Bharati Vidyapeeth College of Architecture, Pune. She has had a number of group and solo exhibitions in India and Australia.


Kaveri Bharath

S Kaveri learned pottery from Ray Meeker and has been  making pieces over the last 18 years. She has predominantly been teaching pottery, setting up Ceramic Centres/studios for other organisations and building their kilns. She has also taught clay work in schools, independent houses as well as being visiting faculty at architecture colleges including the NID, Ahmedabad.

 She has a small roof-top studio in Chennai and also teaches at the Ceramic Centre at Dakshina Chitra.


Ranjita Bora

I make pots… simple, uncomplicated, unfussy

They stand utterly on their own, as themselves, with or without any meaning, relevance or metaphor. Creating my utilitarian ware out of my studio space at Golden Bridge I cannot help but share this poem that best describes my time spent here.

“Just a brief stop”
I said when stopping off a road
Into the willow’s shade
Where a bubbling stream flows by…
As has time since my “brief stop” began.

                              Saigyo (1118-1190)

 Ranjita Bora trained as a chef from Mumbai, and spent nine years working in restaurants across Mumbai and the UK. In 2009 she returned to India and discovered her aptitude for working with clay. She stayed on, studying at Andretta Pottery, Palampur, and as a volunteer at Mantra Pottery, Auroville. She now works with Ray Meeker in  Golden Bridge, Pondicherry. She describes the story of her working life as going  “From making dishes, to making dishes”.



My heart's escape is the ocean. Having witnessed some of its many wonders while scuba diving, I am intrigued by the fluidity of forms and textures seen underwater. Even still pieces of coral or shell  create the illusion of being in constant motion. The ever-engulfing spiral, courses its way through shells, waves, seaweed, tides and through my work.

My shields signify defence. Defence from a society that is in desperate need of introspection. They take the battering and tell stories, about the rips in our social fabric, that we have grown to accept as being normal.   

For me, being a ceramist is in many ways a testament to my love of art and nature. What amazes me about ceramics, is its use of all the five elements of nature and for that it is a truly complete medium of expression.   !

Shayonti has trained at The Golden Bridge Pottery under Ray Meeker, Deborah Smith and Cory Brown, after having completed her Diploma in Ceramics from the L.S. Raheja School of Art, Bombay.


Nausheen Bari

I live by the sea and its influences – natural patterns on trees, the effect of the eroding wind on rocks can be seen in my work. Clay seems the most responsive medium which allows me to create rough uneven surfaces and textures in natural forms.

I love working with my hands, making functional ware for daily use. Pottery is a part of our everyday life - the cup for our tea, bowls for our cereals, jars for our cookies and vases for our fresh flowers - sparks of beauty to enrich daily life, combining all the elements earth, water, air, fire and ether.

After a brief stint in advertising,  she  studied textiles and was a furnishing consultant for 13 years. She  learnt and taught yoga for 6 years. In 2009, she started learning Pottery, first with Mr Vinod Dubey and then with Ray Meeker & Deborah Smith.  She continues her journey with clay and yoga as constant companions.


Tejashree Sagvekar

I see my work as a highlight and shadow, to achieve shiny, matt, and textural qualities punctuated by the drama of fire and ash in my pottery.

All my work is thrown, manipulated, altered or assembled when still wet on the wheel. The firing transforms a pot into stone while retaining the softness of clay. My inspiration comes from the natural world and the creative energy within myself.


Tejashree  has done  BFA (Ceramics and Pottery) and has received  a  National scholarship for junior artist in the field of Ceramics & Pottery, Ministry of Culture. She worked as a  studio-in- charge at L.S Raheja School of Art, Mumbai and has done a Pottery course at Golden Bridge Pottery.



Neha Pullarwar

“Neha’s world of images is based on erosion and shelter; a finely articulated world full of anthills! It is as though they could invade human territories in order to overwhelm and overpower human worlds with their fragile silences.”

Inspiration for these works came from my studio in a village near Alibag, where I see  flies and insects sheltering in mud, hay and wax. I always notice anthills, wasp hives, and assorted nests and wonder at their efficient and well constructed homes created by an entire community.

Neha graduated in Ceramics from Sir J. J. School of Arts, Mumbai and was also awarded the Indo- Swiss Scholarship. She learnt advanced techniques under the guidance of Ray Meeker and Deborah Smith in Golden Bridge Pottery. She has  built her own studio at Alibag. Her First solo show "my-r-me- d-rome" was held at the Bajaj Art Gallery, Mumbai in 2012.

Sylvia Kerkar

Sylvia lives and works between Goa and  Poppalwadi in the Western Ghats.

After apprenticing with Ray Meeker and Deborah Smith at the Golden Bridge pottery, . After that she began working in and around the Dandeli area and then moved to Goa.

Her work is characteristic of materials found in this area, home to specially siliceous high fired clays and interesting woods that give lovely hues to the ash glazes she uses. With a distinct rustic appeal and rugged forms, her work captures a true jungle feel. After years of making functional tableware, artistic utilitarian pieces such as washbasins and murals, Sylvia began experimenting with sculptural real life animals, often found in the area she lives in. 

Her selection for this exhibition encapsulates her strong forms, her experiments with different ceramic materials and the effects of wood  firing on contemporary ceramics still reliant on ancient processes and techniques.


Akila Chungi


I was seven, I went running out of my house on a rainy day, once wet, looking for orangey-red clumps on the ground usually covered with dirt. I picked up one of these clumps. Thus began my love affair with clay. Sixteen years later, my teacher plonks a bag of clay in my hands and helps me continue my odyssey.


My works are a symbolic representation of a vernal metamorphic mind that has devoted itself to a dormant passion; to discover clay and a child within, simultaneously. The plasticity of clay while moist, the firmness when dry and the permanency after enduring a firing  is what creates experiences and stories for me and my habitat. The works displayed at the exhibition were made over a span of three years during my stay in Auroville and Pondicherry.


Akila has a degree in Computer Science and Engineering, and ventured into interior designing with an architectural firm for a short while. She then moved to Auroville in 2011 and learnt pottery  under the guidance of Ray Meeker and Deborah Smith over a span of two years. She  now teaches pottery in a school in Hyderabad. She has participated in group shows in the city and had her first solo exhibition last year.



Curator’s note


Clay at the Attic 3 is introducing a group of nine artists. Most are relative newcomers to the world of the gallery, some moving into the public realm with clay for the first time, some still in the process of setting up their own studios. All are former students of the Golden Bridge Pottery. Shayonti Salvi and Tejashree Segvekar , the most recent ‘graduates’, completed our seven month course in September 2013.


Sylvia Kerkar, one of the exceptions, has been working in Karnataka and Goa for thirteen years. Kaveri Bharath has recently set up an open studio for teaching and residency/workshop programs with the Madras Crafts Foundation at Dakshinachitra. She is now beginning a similar project, again in Chennai. The outreach broadens. Veena Chandran is teaching architecture in Pune. She has a small studio with the basics—wheel, kiln and clay where she spends time most days and has several students there. Ranjita Bora has been artist in residence at GBP for two years. Neha Pullarwar has recently completed her new studio in Alibag. Naushen Bari is still in search of a place to work. She helps fire at Anjani Khanna’s Alibag studio and is thinking about using the wood kiln at IIT, where Shayonti and Tejashree recently had very promising results. Akila Chungi is now working and teaching with clay in Hyderabad.


We welcome you to the work of nine artists—artists that I think, in time, will make their mark on Indian ceramics.


Ray Meeker


'Monthly Monologue: Why it Speaks to Me?'

Hindustani Awaaz, in collaboration with The Attic, presents a monthly series of monologues: poetry, literature, short stories, plays, essays, nazms, ghazals. On the last Thursday of each month, a series of eclectic speakers present/sing/recite their favourite Urdu text and explain why the text ‘speaks’ to them the way it does. They share their passion for a poet, a text, even a fragment and tell us why, from all they have read, those particular set of words speak to them with a familiarity that is at once unique and insistent.

monday 31st march
6.30 pm 'Why Buddha Speaks to me Through Ghalib' by Prof. Ashok Lal

ashok lalBorn in a family of Urdu poets and literateurs (English, Urdu/Hindi) and civil servants, Ashok Lal learnt ‘aadaab’ (appreciation) of ‘Urdu shairee’ (poetry) from childhood, thanks to the frequent exposure to ‘nashists’ (Soiree) and ‘mushairas’ (social gatherings to read Urdu poetry). He started writing poetry, mainly Mazaahiya Kalaam while still a teenager. He pursued his academic studies in Science and Management and later a successful career in international business management for over two decades. After retiring from management he took up  writing and teaching. He was Professor of Communication and Strategic Management at leading B-schools

 Ashok’s creative urges also found expression in scripting, directing, acting, and voicing over- for stage, cinema, electronic and print media. He has also written some significant plays ‘Ek Mamuli Admi’ ‘Nahar Singh’, Classical Chinese plays-  Cheeni Chashni, which have been performed at prestigious platforms nationally and internationally.      

His books include publications for Rural, Urban and Continuing Education programmes; translations of Ikeda’s ‘The World is Yours to Change’ and  Makiguchi’s ‘Education for Creative Life’

His active interest in poetry endured with a limited audience consisting of his elder brothers (Subodh ‘Saqi’ and Pramod ‘Yakta’), father, Vinod ‘Talib’ and Kaifi Azmi. With their guidance, Ashok  had matured into a serious poet. He has written nazms, ghazals and geets for festive occasions like Holi and Mehndi, besides lyrics for his plays, Tazmeens and, lately, Dohas. 

In the nineties. Ashok took to Buddhism and his poetry also took a new turn.  He found that a Buddhist precept would lead to a couplet by Ghalib and vice-versa. The fascinating and intense connection between the sage and the poet found expression in his tazmeens of a few of Ghalib’s couplets. This led to an essay/book on the subject,- ‘Buddha Ghalib’ and a play ‘The Enemy Within’, based on the Buddhist legend of India’s ancient King, Ajatshatru.

Ashok lives in New Delhi with his wife, Kumkum, a known exponent of Odissi dance.