Tweaking it the ‘Vaastu-way’

The Oxford Dictionary describes ‘superstition’ as “a practice or belief based on the irrational fear of the unknown; or the belief of a supernatural”. Today, in the world of Indian architecture, adhering to Vaastu principles is considered a superstition. A client expecting a Vaastu-based residence or structure is considered a petulant customer who doesn’t value the architect’s style.

What Indian architects fail to understand is that Vaastu Shilpa Shastra, as the text is originally called, is merely a set of rules that the ancient architects and builders followed that help to keep man better connected with his building. The text essentially deals with the correct placement of man `with respect to his environment to achieve harmony with nature.’ It is also based on the influences of the five natural elements – air, water, sun, sky and earth.

Sure, these text were practiced like a religion, especially among South Indians; sure, it was thought to bring prosperity and good health; sure, it uses phrases like cosmic influence, attaining total connection with the environment, and many more from astrology; but has anyone actually considered reading through it before casting it away?

The history behind the word itself, its meaning and significance could make for a whole chapter. ‘Vaastu’ means everything that is inclusive from the environment, ‘Shilpa’ is the art of creation and ‘Shastra’ denotes the knowledge bank. The Vaastu principles commonly known today were formulated by an architect and town planner, who belonged to an era somewhere between 10,000 – 5000 B.C., called Mayan.

This ideology originated for the purpose of temple construction. It was believed that to attain maximum positive energy, these principles had to be followed. On reading the scriptures, it is evident that they adhere to those principles commonly taught in colleges and expected from professionals. For, it is nothing but the climate that forms the basic idea. Smita Gupta from Arizona State University even went on to name it as ‘The Ancient Indian, Bioclimatically Responsive Science of Building.’

The cardinal directions for each plot represent some source of energy and these scriptures have mentioned what space should go where based on these cardinal directions only. The North is the Lord of Wealth, South the Lord of Death, East the Lord of Light, and West the Lord of Winds. The centre of the plot represents the Lord of the Cosmos. Following this, it is apparent that living spaces would occupy the North and the East, working spaces occupy the east and west and serviced areas should be aligned to the South.

The deities of the nine houses

Now, everyone knows that the Sun, which is considered the source of all energy, travels from the East to the West as far as the earth is considered. In fact, it tilts itself towards the South while travelling. Thus the light coming from the North is diffused and can be called indirect, unaccompanied by heat. So, maximum heat comes from the South and the West (the setting Sun). According to this information, the spaces should be designed as suggested by Vaastu Shilpa Shastra.

Placement of spaces according to Vaastu principles

This is just the beginning. There is much more truth and logic to the text than what meets the eyes. It gives information about ventilation, light, sanitation, working spaces, entrances and much more which also seem reasonable.

It is necessary that we give more importance to such an ancient text than just discard it as superstition or religion. It may be necessary that for once we refrain from becoming atheists and jettison personal egos, visual aesthetics and social acceptance, for which we architects are famed for. These maybe needed at some level but it is much more crucial to design better spaces for ourselves and Mother Nature.

A Rhythmic Merger

It is that time of the year again when the whole city and many foreign visitors congregate to pay homage to music of various genres and forms. Famously known as the December Music Festival of Chennai, this is part of our city’s tradition and culture.

As the second last month comes to an end, the November Fest of 2009, which is the curtain raiser for the much bigger cultural event next month, has already wrapped up after an impressive showing. With every performance attracting a full house audience, this festival is here to stay. Started by the Friday Review of The Hindu group of newspapers, this is the fifth edition of the festival which is already a huge sensation among music lovers – local and foreign.

This year saw an amalgamation of four foreign artists and two Indian artists, who between them performed six different kinds of music from all over the world in six days. Each one is a maestro, well known and acknowledged worldwide.

Abida Parveen started the Fest with a celebrated and mystical performance on November 17. Quoting messages of many Muslim saints, including Prophet Muhammad, in her lyrics, her artistry was very plain for everyone to see. The highlight of the evening was the Punjabi song ‘Main Har Dam Rab Rab Kardi’. Her fluent and harmonious composition was honored with two well deserved standing ovations.

Paying homage to Sufi music - Abida Parveen
http://ishare.rediff.com/video/others/live-the-incomparible-abida-parveen/888734

She was followed by Pandit Channulal Mishra, who engrossed the audience with his stylishly-crafted music of the Kirana Gharana. A traditionalist in performance, his style was well received by the crowd with ‘Wah! Wah!’s throughout, for they could unmistakably feel his rapport with the audience.

Engaging in the traditional way - Pandit Channulal Mishra

The next performance was by the Australia based James Ryan Quartet, famed for their technique, precision and ideas. Comprising of James Ryan on the saxophone and flute, Scott Tinkler on the trumpet, Steve Hunter on the electric bass, and Ken Edie on the drums, they left the audience awe-struck by the end of the performance.

Quartet anyone?  - James Ryan

November 20 saw the ‘jugalbhandi’ of two classical musicians – O.S. Arun and Sanjay Abhyankar. Although the required heights and pitches were not reached, the combination of a Hindustani singer and a Carnatic vocalist to perform the celebrated Surdas’ compositions itself leaves one wanting for more. ‘Sur Sagar’, an extraordinary work of poetry, was ventured with varying emotions, situations and tempos to create a flawless recital.

A tribute to 'Sur Sagar' - O.S.Arun and Sanjay Abhyankar 

‘Gong Myoung’, a young band, came to join the celebrations the next day. A group of four friends sharing an amazing bond, both on and off stage, were able to extend this rapport with the audience too. Performing for the first time in Chennai, they had the crowd dancing and singing to their tunes very soon. Interspersing traditional Korean melodies with perky sounds, they performed using traditional instruments to provide messages of joyous mirth.

Playing it the Korean way...- Gong Myoung

The Fest ended with a rousing finale by the 40 year old rock band from Africa, Osibisa, who have returned to Chennai after three decades. Attired in clothes as vibrant and eclectic as their music, they enchanted a fervent audience with their musical tempo. Though their recent numbers, which were reserved for the end, weren’t as captivating as the earlier songs, the crowd thoroughly enjoyed their performance. What more could be the proof of such enjoyment, than the fact that the crowd kept asking for encores after almost every song.

Creating the African rock magic again- Osibisa

A blend of traditional Kirana Gharana and exceptional Sufiana with a pinch of Australian technique and a concoction of classical Sur Sagar intermingled with a smidgen of youthful ‘Gong Myoung’ brewed perfectly with the rocking and involving Osibisa created the ideal formula to stand true to the concept behind the Fest; leaving the Chennai crowd wanting for more to be served on their platter. Truly a huge affair, the November Fest 2009 has helped the Chennai crowd to get into the mood of celebration of music, to end the year on a melodious note.