Thursday, September 29, 2016

The best of two worlds

By V Ramnarayan

(From Madras  Musings, June 1995)

Jayakrishna Ambati has a string of achievements to his credit, achievements that put him in the prodigy class. This 24-year·old physician, medical scientist, artificial intelligence expert and electronics engineer rolled into one has been recognised as outstanding and lionised in the US where he now lives. 

If on reading of Jayakrishna's exploits. you think they are hard to better, wait till you read about his younger brother's. By now it is common knowledge that 17 -year-old Balamurali Krishna Ambati has become the world's youngest doctor, with honours in all basic sciences, medicine, paediatrics, psychiatry, neurology, emergency medicine, community medicine, ophthalmology, otolaryngology and neurosurgery. Bala has been featured in newspapers and magazines in four continents and appeared in several TV and radio programmes worldwide.

I had the pleasure of meeting the parents of these gifted brothers. To meet proud parents Murali Mohan Rao and Gomathy on their recent visit to Madras was to catch a brief glimpse of the well-directed love and guidance responsible for the growth and development of the two gifted brothers.

A few minutes after I reached their newly built home in Mahalingapuram, where the Ambatis were staying, the family arrived after a hectic round of visits. It was 8.00 p.m. and pitch dark, thanks to a power breakdown. "I thought the power cut was confined to the morning," remarked Bala, innocent of the ways of Tamil Nadu's power supply agency. After a few minutes of desultory conversation, we decided to go ahead with the interview in the dark! Unknown to us, Jayakrishna had gone walkabout, in search of candles, as I learnt later, a search that took him as far as T Nagar.  Bala was by then resigning himself to yet another press interview only to be reassured that I'd talk to his parents. Obviously grateful for this reprieve, he gave a wonderful, boyish smile that said it all.

It is pretty obvious to even the casual bystander that the Ambatis are a closely knit, old-fashioned family where traditional South Indian values are respected. Much of the conversation within the family is in Telugu, without a trace of an American accent. In attire, too, the family is difficult to tell apart from the average Madras family. Murali Mohan Rao takes pride in the way his children have been brought up to be truly Indian in their cultural outlook.

Murali Mohan Rao was the fifth of eight sons born to Ambati Subbaraya Gupta, ICS, the first Indian District Magistrate of Cuddapah District. Ambati senior was an ashtavadhani, or an adept at the simultaneous performance of eight different feats of mental agility. After his schooling at RECC High School, Perambur, Murali Mohan Rao finished his B Tech at IIT Madras in 1969. From then, until his departure for the States in 1980, he taught maths at Voorhees College and CMC School in Vellore, followed by a stint at IIT, Madras. In the US, he studied industrial engineering and operations research.

As Murali Mohan Rao grew up, the atmosphere at home was conducive to learning and academic excellence. Another brother to benefit from this helpful atmosphere was Ramalingeswara Rao,  who recently retired as Deputy Director of Health Services. "He does not even own a house," remarks Murali Mohan Rao, proud of his family's standards of integrity. He strongly believes that the mother's presence at home is vital to the well- being of the children, the reason why his wife Gomathy has not taken up a full-time job, though qualified. "Why should the wives of Indian doctors in the US take up jobs when they are so well off? I call It greed."

Gomathy, who is from Madurai, had a degree in mathematics before she went on to higher studies in Tamil. In the US, she obtained a master's degree in education. She teaches a couple of courses at the University, once she has completed her daily household duties. During the first three years of the Ambatis' stay in the US, it was Gomathy who took care of the boys' educational and development needs at home, while Murali Mohan Rao was settling down in his studies. Jayakrishna was ten and Bala three then.

It was Gomathy who first noticed Bala's precocious talent, his language skills, cognitive ability and mathematical aptitude. Jayakrishna would also participate in honing young Bala's prodigious intelligence and memory. Bala could spell quite well at three and knew the multiplication tables before he was five. Yet the US school system did not permit him to join school until he was six.

It was only after Murali Mohan Rao completed his higher studies and started his teaching career that he started devoting time to Bala's intellectual stimulation. He used his new professional status to repeatedly argue with the administrators to win Bala double promotions.

There were, and still are, several brainstorming sessions in the Ambati home, making learning a pleasurable experience - the word 'fun' is anathema to Murali Mohan Rao. There would be quizzes on maths, physics, the environment and so on, in which all four would take part enthusiastically.

The Ambatis follow a traditional lifestyle at home - respect for elders, humility, our spiritual heritage, discipline are important ingredients. There is much Telugu spoken and an effort to bring the boys up as normal persons. Sport is not ruled out - basketball is a favourite and chess is more than a hobby with both the sons. All four are regular visitors to the Hindu temple where they conduct an Educational Excellence Programme on Saturday afternoons to train middle and high school students to prepare for the National Merit Scholarship and SAT exams.

It is easy to see the close ties of the Ambati family, the parents' affection and pride in their children, tempered by orthodox Hindu parental ideas of discipline. No smoking or alcohol is allowed in the house. The young men are models of good behaviour and excellent manners.

Just as the family was getting ready to leave for elder statesman  C Subramaniam's house for dinner, Jayakrishna returned triumphantly with the candles, to lighten the gloom, but, alas, too late to join the conversation. In a refreshing display of adolescent curiosity, Bala asked me whether I spoke Tamil or Telugu and we exchanged notes on our respective heights. 
I asked him whether he watched the TV serial 'Doogie Howser, MD.', the story of a teenage surgeon much like Bala. He is quick to point out that he has been around longer than the serial. In fact, after graduating in biology at 13, he had declared his intention of completing his medical degree by the time he was 17. The TV serial followed a year later, perhaps even inspired by Bala. Like Doogie Howser, Bala is a brilliant young doctor with a maturity and wisdom far beyond his years. Like Howser, too, he does show flashes of boyish innocence and humour.

Power supply as yet unrestored, I came away seeing in different light the simplicity of a family that finds itself in the limelight, their patience with the irritants of life in Madras after the  luxuries of America, there fierce pride in their Indianness. They appear to have found the right mix of tradition and modernity. They are excellent examples of the merits of the best modern education, aligned with a world-view and nourished by the values of a well-knit, traditional Indian family.


Monday, August 8, 2016

INDEPENDENCE DAY 2016 MS TRIBUTE CONCERT

Dear Rasikas, 

Here's a story with this reminder of the MS TRIBUTE concert by Vijay Siva 
10am15 August 2016 , 
Bharatiya Vidya Bhavan 

MS was having lunch with some distinguished people 
when she saw a tall man who kept looking at her as he drew on a piece of paper. 
When he finally showed her the picture she gave a bright smile.
But back at home she said with a puzzled look, "Do I really look like that?"
This is the picture. And the painter, yes, you have guessed his name - MF Husain.  


Monday, June 6, 2016

The annual vidwan


Growing up at Suprabha, our home on Murrays Gate Road, meant regular home delivery of haircuts. 

We boys were sat on a stool in our disused garage, and Ekambaram, tall, slim, balding and Hitler-moustachioed, came dressed in his three quarter sleeved white shirt and veshti, and a neat little box of instruments, not very different in appearance from the case our family doctor carried on home visits. Ekambaram had no pretensions to aesthetics. 

To him the hair cut was just that, and the less foliage he left on his poor victim's head at the end of his ministrations the more successful was his mission. My father used to joke that Ekambaram inverted a pot on your head and snipped all round it.
Ekambaram was versatile. On Deepavali morning he was one of our earliest visitors. With his nagaswaram. He was, in addition to being the worst barber in the world, the worst musician as well. 
Normally tight-fisted in the best Mylapore brahmin tradition, my family rose as one man to shower cash and new clothes on Ekambaram. Rather than any philanthropic urges, we owed our generosity to a strong desire to get rid of the assault on our ears.
Watch this space for more on the old practice of barbers doubling as nagaswara vidwans (some of them excellent exponents of both arts).

Saturday, April 9, 2016

JustUs Repertory's AHAM SITA Tour Schedule

AHAM SITA

(Written, directed and narrated by Gowri Ramnarayan)

Dance: Vidhya Subramanian

Recorded Vocal: Savita Narasimhan and Aditya Prakash

Music Direction: Gowri Ramnarayan

Lighting Design: B Charles

SCHEDULE
SAN JOSE
Fri, April 8, 2016, 7.30 pm 

PHOENIX
Fri April 15, 2016, 7 pm 
Sun, April 17, 2016, 4 pm 

AUSTIN 
Sat, April 23, 2016, 6.30 pm 

ATLANTA
Sun, April 24, 2016, 4 pm 

CHICAGO 
Wed, April 27, 2016, 6pm
International House, University of Chicago 
1414 East 59th Street, Chicago, IL 60637
Fri, April 29, 2016, 
NIU Naperville Meeting & Conference Center
1120 E. Diehl Street, Naperville, IL 60563



Gowri Ramnarayan's US tour: AHAM SITA

With dance by Vidhya Subramaniam and Savita Narasimhan's recorded voice



(Photographs will be added later)

Our first show at San Jose went fabulously.


The theatre is clean, spare, nothing to write about, lighting basic mostly because we had to give cues, 
no lighting man here.

These limitations did not matter. 

But the audience! Their response was astonishing. They were with the production right through.
And sent some really interesting observations. 

The photos by Swagato are really special

Gowri Ramnarayan



I enjoyed how this popular theme was developed and presented from the feminine perspective.The narrator cum sutradhara, Gowri Ramnarayan, who wrote and emoted the characters of Sita, Urmila, Ahalya, Soorpanakha and Mandodari, was very convincing and effective. She set up the context and moved the story along succinctly. 

Vidhya Subramaniam's  finessed dancing and emoting of Sita from when she was a young innocent girl to when she was a jaded, used, rejected and finally a defiant queen was also equally enthralling. The costume changes with simply a dupatta was brilliant. 

The minimalistic stage setting, props and lighting were all well thought out and executed,( although the spotlights lacked the intensity or angle to reveal your nuanced facial expressions. Problem with most theaters for dance). 

The recorded music by Savita Narasimhan and Aditya Prakash augmented our experience of the storyline and characters. 

The music in many Indian languages with so much varied content, including konnakol, in just the appropriate ragas, was also very much appreciated. 

The message in the end that each one of us is Sita, and who likewise need to break the stereotypical mold, refusing to allow others to define us, was very powerful and timely. 

Overall, it was a satisfying, thought provoking and enjoyable performance making us want more.

Prema Sriram

Sunday, March 20, 2016

Notes from Kalakshetra


Part 1

Nostalgia is wishful thinking in reverse gear. At least that could be the worst case scenario when an old man like me settles down with a drink like Mr Mulliner at the Anglers' Bar and begins to unleash his tales of fancy from the past, always seen through rose-tinted spectacles.

At its best, however, nostalgia can make you stop and ponder a while amidst the frenetic business of life. If you happen to be honest and objective, and not a victim of syrupy sentimentality, you can actually take stock of both the past and the present, try to see where we have evolved as humans and artists or sportspersons, and where we have allowed time and technology to force shortcuts on us, thus depriving us of something precious that may never come back.

As a writer on cricket, I am invariably asked to recall the past in fascinating ways my editors conjure up. ''How would the greats of my era have fared in today's cricket?'' is a constant refrain. Every time I succumb to such pressures, I find I annoy as many people as I please. Nostalgia- lovers enjoy these stories from the past, though they often accuse me of playing favourites or forgetting to mention their own heroes. Of course, those who worship at the altar of the spectacular present have little patience with what they see as my partisan preference for the past masters. Sometimes, it can all turn out be a lose-lose situation.

Watching some Kalakshetra dancers and musicians past and present at the recent Bani Festival stitched together by the director of Kalakshetra, her staff and her students, I was curious to test my own nostalgia quotient against acceptable parameters of objectivity.  The chronologically graded format of the programme the evening the Kalakshetra bani was presented enabled me to measure the young talent on view with the remnants of the consummate artistry of the seniors, almost all of them septuagenarians today.

The performances of the youngsters who gave margam displays in groups of six gladdened the heart. I shall write about the individual artists in a later post, but it is good to see that the strong foundation laid by Rukmini Devi and strengthened by the early efforts of the likes of Sarada Hoffman and several other good teachers has resulted in a continuing vibrancy of tradition and excellent adherence to techniques. The all round good taste of the institution still pervades every aspect of the programmes offered by Kalaksetra--from the beautiful stage decor, and lovely costumes (though these have grown more ornate through the decades),  to the well-mannered courtesy and quiet dignity of the staff senior and junior as we;; as the volunteers. I can hear murmurs that chaos occasionally tends to rule, but that is preferable to efficient rudeness. Vocalist Harikrishnan was in sublime form, his raga suddham and seamless, sruti-perfect voice an object lesson to many practitioners of Carnatic music. His elaboration of the raga Sahana was easily the best I have heard in many a summer.  

Among the veteran dancers, Shanta and VP Dhananjayan and A Janardhanan gave us glimpses of the technical skill and poignant interpretation of the lyric and theme that made them special in their heyday, Balagopalan stole the show with his extraordinary abhinaya in a cameo appearance. The nattuvangam by Savithri Jagannatha Rao would have won the approval of the giants of yesteryear. It was firm, precise and dignified.


To return to the ambience that made the event so refreshing, the floor seats were, as always, occupied by studious youngsters and some superfit oldies, eagerly drinking in the action on stage. Here again I could not help remembering how 40 years and more ago, I sometimes joined my wife and children of the family as a member of the tarai ticket audience. (The first hints of our mortality were not so subtly conveyed to us when in time the ushers and usherettes started directing us to the chairs). 

It was from these vantage seats that we watched in awe as Janardhanan and Venkatachalapathy as Rama and Lakshmana, Krishnaveni  as Sita and Balagopalan as Hanuman wove magic before our eyes. That every role in the Ramayana dance drama was paid the utmost attention was illustrated for example by the diminutive Stella Uppal's hypnotic gambolling as the golden deer which made Sita's fascination so believable. The grand music by Mysore Vasudevacharya and others sung by Sitarama Sarma, Pasupathy and others often made you turn year eyes away from the stage towards the orchestra pit. It is no exaggeration to say that Hariprasad and company had a similar effect on us last week.  (To be continued).