VKMurali

“In its totality, a raga is a combination of musical heritage, technical elements, emotional charge, cognitive understanding and aural identity.”
― T.M. Krishna, A Southern Music: Exploring the Karnatik Tradition

“The svara’s main function in Karnatik music is to give us a microcosm of the larger melody. But it cannot do this entirely on its own. It does so through a process of interaction. The svara, acts with other svaras to create smaller melodic units, which in turn define the larger melody. How does a svara, the ‘micro’, express the macro? It does so by representing an aspect of the larger melody, not by its fixity or rootedness, its immobility on a scale, but through its movable nature. Therefore, every svara can move, bounce, slide, glide, shiver or skip. How and to what extent a svara can be expressive depends on the nature of the larger musical identity it is part of and the nature of the other svaras within that macro identity. Svaras in some ways are like cells in a body. The cells (svaras) are determined by the content and function of the tissues (smaller melodic units), yet the larger human being (melody as a whole) is embedded in every cell, within the DNA.”
― T.M. Krishna, A Southern Music: Exploring the Karnatik Tradition

“Recipes of Sita People have to be fed during a war. And so the kitchens of Lanka were busy. Those who were going to the war had to be fed; those who were returning from the war had to be fed. Food had to inspire, comfort and stir passions. The smell of rice boiling, vegetables frying and fish roasting filled the city streets, mingling with the smell of blood, rotting flesh and burning towers. The aromas reached Sita’s grove. ‘Don’t you like that smell?’ asked Trijata noticing Sita’s expression as she inhaled the vapours. Trijata, Vibhishana’s daughter, had become a friend. ‘If I was cooking, I would change the proportion of the spices,’ Sita said. She gave her suggestions to Trijata, who promptly conveyed them to the royal kitchen. Mandodari followed these instructions and soon a different aroma wafted out of the kitchen. So enticing was the resulting aroma that other rakshasa cooks came to the Ashoka grove and asked Sita for cooking tips. Without tasting the food, just by smelling what had been prepared, like a skilled cook, Sita gave her suggestions. ‘Add more salt.’ ‘Replace mustard with pepper.’ ‘Mix ginger with tamarind.’ ‘Less cloves, more coconut milk.’ These suggestions were promptly executed, and before long Lanka was full of the most delightful aromas and flavours, so delightful that sons and brothers and husbands and fathers wanted to stay back and relish more food. They wanted to burp, then sleep, then wake up and eat again. They wanted to chew areca nuts wrapped in betel leaves and enjoy the company of their wives on swings. No war, no fighting, just conversations over food. Ravana noticed the lethargy in his men, their reluctance to fight. They were not afraid. They were not drunk. They were just too happy to go to war. Furious, he ordered the kitchens to be closed. ‘Starve the soldiers. Hungry men are angry men. In anger they will kill the monkeys. The only food they can eat is monkey flesh.”
― Devdutt Pattanaik, Sita: An Illustrated Retelling of the Ramayana

“Guna impact not just matter but also the mind. Thus, thought and emotions also display the three tendencies. Therefore some people are lazy followers, some are driven leaders who want to change the world and some decide when to follow and when to lead, and know that the world can be changed only cosmetically with technology, but not in essence, at a psychological level. Tamas guna stops us from thinking, so we follow the trend. Rajas guna stops us from trusting anyone but ourselves. Sattva guna makes us care for those who are frightened, intimidated by the diverse and dynamic reality of the world.”
― Devdutt Pattanaik, My Gita