6.30 pm ‘Yoga Dance Therapy’ – a talk and
demonstration by Soraya Franco
dance therapy is an integrative art form that gracefully
combines yoga, dance and the philosophy of ayurveda.
The postural patterns and movements of yoga asanas
are combined with Indian classical, ballet and contemporary
dance to create body mind awareness and movement patterns
for a therapeutic choreography. This cross training
combination of yoga, dance and other holistic healing
techniques creates a new philosophy of performance
to transform and transmit energy to an audience through
kinesthetic expressions of wellness.
is a contemporary art form that uses ancient tools
to create new forms and aesthetic experiences to explore
philosophical concepts and
awareness of emotions. It uses scientific methods to
choreograph and create movements and dances that help
to restore balance, health, and spiritual growth.
Soraya Franco started dancing Ballet in the Dominican
Republic and later continued as a young soloist with
the National Ballet of Cuba. In Paris she studied at
the “Centre National de la Danse”, the “Theatre
Contemporain de la danse” and the “Paris
Opera Ballet”, and learnt dance with many international
classical and contemporary teachers and choreographers.
She has been dancing professionally for over twenty
years and is also an accomplished ballet teacher and
choreographer and she has participated as a soloist
in many international dance festivals.
In 1995 she was selected for “Artists without
borders” Unesco International award to study at
VKV in India and graduated as a Yoga teacher at Kaivalyadhama
Yoga College and Research institute in Pune. She studied
and researched on South Indian Classical dances in Kalamandalam
National Institute of dance and drama of Kerala with
the support of the ICCR. She lives in India and travels
to different parts of the world teaching her new method:
Yoga Dance Therapy.
6.30 pm 'Expressionism and Music' a talk with lots
of music by Dr. Punita Singh
– an important movement in the history of western
visual art in the 20th century, aimed to convey emotional
experience, rather than realistic form. In expressionistic
works of art, such as those of Edvard Munch or the Blaue
Reiter group, distortion, caricature, exaggeration or
fragmentation were some techniques used to communicate
emotion and the subconscious.
Expressionistic concepts manifested themselves in the
field of music as well. Post Romantic composers such
as Richard Strauss and Gustav Mahler paved
The Scream by Edvard Munch (1893) the way for further
innovation with dissonance,
which inspired 20th century incongruity and alternative
Expressionists Schoenberg and the “Second Viennese
Scream by Edvard Munch (1893) which inspired 20th century
the established norms of musical key structures altogether,
in their experiments with tonality, timbre, texture
and time. Later composers took such experimentation
In this illustrated talk, Dr Punita Singh will focus
on some of the startling developments that took place
in 20th century music, leading to a complete paradigm
shift in the way sounds were put together to express
thought and feeling.
special tribute will be paid to Arnold Schoenberg, whose
contribution to music remains relatively unacknowledged,
despite having changed the course of music making and
is a musicologist, linguist, psychoacoustician, editor
and educator based in New Delhi. Special areas of interest
and expertise include Christian sacred music, music
of the Renaissance, twentieth-century music, Flamenco,
and contrastive aspects of Indian and Western classical
7 to 8.30 pm – ‘A Circle of Equals’
– a talk by Dr. Robert Fuller at
179 Golf Links.
question is, which is the best way to structure
a corporation, a society or even a country? The
currently accepted structure is the Weberian model
of a rigid hierarchy with a top-down approach and
the management structure that has historically evolved
is one of squares, boxes and pyramids. But we forget
that the world is round and an international trend
is emerging over a different style - participatory,
circular management. Decisions are not imposed from
the outside but generated from within and the CEO
is at the
– coordinating, rather than at the top looking
down. Leadership, authority responsibility and
decision making is shared equally.
his ground breaking works Dr. Fuller has identified
a form of domination that everyone has experienced
but few dared to protest: rankism - the abuse
of power to exploit or humiliate someone of lower
rank. This would include every form of social
oppression – racism, sexism, homophobia
and religious intolerance.
Robert Fuller talks this evening about this new
management style. He is an international authority
on the topic of rankism, abusive, discriminatory
or exploitative behavior and is in the forefront
of the dignity movement which aims to overcome
rank based abuse. He is a PhD from Princeton and
has taught at Columbia University. He was a consultant
to Indira Gandhi after the Bangladesh war and
was later instrumental in convincing Jimmy Carter
to establish the Presidential Commission on World
Hunger. In his lifetime he has been a ‘somebody’
and a ‘nobody’ leading to his 2 books
‘Somebodies and Nobodies – overcoming
the abuse of rank’ and ‘Somebodies,
Nobodies and the Politics of Dignity’.
talk is organized by the Viveka Foundation at
179 Golf Links. Tea and biscuits will be served
at 6.30. If he is in the mood, Susmit Bose, urban
folk singer and songwriter, will open the evening
with a few songs.
6.30 pm ‘What is Indian Art?’ –
a talk by Shakti Maira
has a sophisticated aesthetic philosophy and an equally
rich history of making everyday things beautiful. Yet,
most Indians, and travelers to India, have also experienced
the great contrast between its ingrained beauty and
its contemporary ugliness. So when we examine what Indian
art is, we must look at the many reasons that make this
paradox. Both the ‘glorious past’ of the
classical traditions and the present state of contemporary
Indian art, as well its place in the global art world,
must be examined. Where are its roots? What are its
defining characteristics? What, indeed, makes Indian
art ‘Indian’ and if it has such a rich
heritage of beauty, why is there so much ugliness in
Aihole Dwarapala 6th c. modern India? Did we ever attain
Why have art and beauty disappeared from our
everyday experiences of life?
Maira will raise some of these questions, and will welcome
a discussion with the audience. He is a noted artist
and sculptor, and author of Towards Ananda: Rethinking
Indian Art & Aesthetics (Penguin/Viking, 2006).
He has had 24 one-person shows in India, the US and
in Europe, and his work can be found at the National
Gallery of Modern Art and in private collections around
the world. He writes on art, aesthetics, culture and
travel and is a columnist for Design Today magazine.
He has prepared the UNESCO Asian Vision Statement for
‘Arts in Education: Learning Through the Arts’.
6.30 pm “A Tribute to Miya Tansen” –
a bansuri recital by Jay Thakkar
Tansen was one of the greatest musicians of India. He
went on to become the court musician at the Mughal emperor
Akbar' court, where he was soon given the status of
one of his nine gems (Navratna’s).
Hundreds of stories about Tansen speak of the powerful
effects of his music on the emperor, his court and his
subjects. His rendition of Raag Deepak could raise the
temperature of the room in which the music was played
or cool it down with Raag Megh Malhar. This kind of
attunement with the forces of nature through sound frequencies
and music is as rare as it is phenomenal.
Apart from being an excellent practitioner of Dhrupad
style of singing Tansen was an excellent composer, too.
The Raags he created have not just stood the test of
time, but also reveal a rare musical genius far ahead
of his times. Raags like Miya ki Todi, Miya ki Saarang,
Miya ki Malhar, Darbari Kanada are some of his priceless
This evening is a special tribute to Miya Tansen. It
consists of a recital of two of his greatest creations,
Miya ki Malhar (the King of Monsoon Raags - a fusing
of Raag Darbari Kanada and Raag Malhar) and Darbari
Kanada (a raag dedicated to Akbar’s court)
Thakkar has trained in classical Indian vocal and on
the Bamboo flute with Pandit Hariprasad Chaurasia. He
is a BA in Architecture and has performed as a professional
flautist in theatres, colleges, cultural centres, temples,
planetariums in solo performances and with Hariprasad
Chaurasia. He lives, works and performs mainly in Bombay.